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 the UAE and from Mumbai.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1977.
I'm losing my edge.
To all the kids in Toronto and Paris.
I'm losing my edge to the art-school Salvador 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the clarinet sounds with much patience.
I was there when Robert Palmer 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 Fear to the disco kids.
I played it at the Troubador.
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 Derrick Morgan. All the underground hits.
All The Birthday Party tracks. I heard you have a vinyl of every Neu! 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 '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Gang Starr record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pagans,
Andrew Ashong & Theo Parrish,
The Count Five,
Blancmange,
The Gladiators,
Drive Like Jehu,
David Bowie,
Tommy Roe,
James Chance & The Contortions,
Symarip,
Eyeless In Gaza,
Notorious Big And Bone Thugs,
a-ha,
Unrelated Segments,
The Electric Prunes,
JFA,
Sound Behaviour,
New Order,
Ronnie Foster,
Barclay James Harvest,
Lucky Dragons,
The Angels of Light,
Pet Shop Boys,
The Slits,
Average White Band,
Sam Rivers,
The Modern Lovers,
Mandrill,
Circle Jerks,
8 Eyed Spy,
Nirvana,
Steve Hackett,
Scratch Acid,
The Index,
Andrew Hill,
The Tremeloes,
Donald Byrd,
The Residents,
The Last Poets,
Mary Jane Girls,
H. Thieme,
Mark Hollis,
KRS-One,
Nation of Ulysses,
Matthew Halsall,
The Misunderstood,
The Associates,
Glambeats Corp.,
The Cramps,
Sandy B,
James White and The Blacks,
Q65,
The Dave Clark Five,
The Smoke,
The Peanut Butter Conspiracy,
Dead Boys,
CMW,
John Foxx,
Essential Logic,
Deepchord,
Fat Boys,
Icehouse, Icehouse, Icehouse, Icehouse.
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.