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 Korea South and from Hong Kong.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Spokane and Paris.
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 mellotron sounds with much patience.
I was there when Holger Czukay 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 Bill Near to the punk kids.
I played it at the 40 Watt.
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 The Alarm Clocks. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every Hoover record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lafayette Afro Rock Band,
Erasure,
World's Most,
Kenny Larkin,
London Community Gospel Choir,
Agitation Free,
Graham Central Station,
Spoonie Gee,
Girls At Our Best!,
The Golliwogs,
Silicon Teens,
Camron Feat. Jay Z And Juelz,
Mark Hollis,
Nico,
Alphaville,
Kayak,
Smog,
Bobby Sherman,
Nirvana,
The Men They Couldn't Hang,
The Searchers,
48th St. Collective,
Rapeman,
New Order,
Bobby Womack,
Severed Heads,
Lalo Schifrin,
Avey Tare's Slasher Flicks,
Mad Mike,
Theoretical Girls,
Dawn Penn,
Neil Young,
Pussy Galore,
Magazine,
The Pop Group,
Skriet,
Delon & Dalcan,
R.M.O.,
Surgeon,
PIL,
Moby Grape,
Thompson Twins,
Swans,
Janne Schatter,
Maurizio,
John Coltrane,
Can,
The Smoke,
Max Romeo,
Pylon,
Blake Baxter,
Sly & The Family Stone,
Jesper Dahlbäck,
Circle Jerks,
Bobbi Humphrey,
Alice Coltrane,
X-Ray Spex,
Kevin Saunderson,
Intrusion,
Deepchord,
Section 25,
Fatback Band,
Crime, Crime, Crime, Crime.
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.