Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Monaco and from Lyon.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1963 to 1970.
I'm losing my edge.
To all the kids in Paris and Bremen.
I'm losing my edge to the art-school Portland kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the snare sounds with much patience.
I was there when Donald Fagen started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing KRS-One to the jazz kids.
I played it at the Crocodile.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Peter and Kerry. All the underground hits.
All The Fuzztones tracks. I heard you have a vinyl of every Jeff Mills record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Crispian St. Peters record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Audionom,
The Cure,
The Gun Club,
Con Funk Shun,
Sixth Finger,
Bob Dylan,
Brass Construction,
The Sonics,
Peter and Kerry,
Black Bananas,
Marc Romboy vs. Booka Shade,
Deepchord,
Steve Hackett,
A Certain Ratio,
Letta Mbulu,
Supertramp,
Grey Daturas,
Spoonie Gee,
Crooked Eye,
Neu!,
Boogie Down Productions,
The Associates,
Youth Brigade,
Selector Dub Narcotic,
Brothers Johnson,
Barclay James Harvest,
Index,
Q65,
Morten Harket,
Main Source,
The Detroit Cobras,
Johnny Clarke,
David Axelrod,
Alphaville,
Colin Newman,
Pet Shop Boys,
Agent Orange,
Gerry Rafferty,
Orchestral Manoeuvres in the Dark,
Lou Reed & John Cale,
Clear Light,
The Mummies,
Faraquet,
Dark Day,
Bush Tetras,
Q and Not U,
The Gap Band,
Warren Ellis,
Charles Mingus,
The Doors,
Faust,
Unrelated Segments,
Black Pus,
Model 500,
Television Personalities,
Lafayette Afro Rock Band,
The Gories,
ABC,
Justin Hinds & The Dominoes,
Harpers Bizarre,
Moby Grape,
Maleditus Sound, Maleditus Sound, Maleditus Sound, Maleditus Sound.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.