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 New Zealand and from Houston.
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 1973.
I'm losing my edge.
To all the kids in Delhi and London.
I'm losing my edge to the art-school Lyon 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 rhodes sounds with much patience.
I was there when Nile Rodgers 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 Rhythm & Sound to the rap 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 Japan. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Crash Course in Science 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 '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Dirtbombs record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Grass Roots,
E-Dancer,
Henry Cow,
Sad Lovers and Giants,
Ultimate Spinach,
Cameo,
Mo-Dettes,
The Flesh Eaters,
Kool Moe Dee,
Fear,
Scan 7,
David Bowie,
Talk Talk,
Hasil Adkins,
Sunsets and Hearts,
Thee Headcoats,
The Wake,
The Kinks,
Notorious BIG live in Amsterdam,
Barry Ungar,
Public Image Ltd.,
Soul II Soul,
Ohio Players,
Joy Division,
Lalo Schifrin,
Echo & the Bunnymen,
Crash Course in Science,
Erykah Badu,
Boredoms,
Pylon,
Ralphi Rosario,
Nico,
The Gun Club,
Camberwell Now,
Rotary Connection,
Lizzy Mercier Descloux,
Juan Atkins,
Grauzone,
Public Enemy,
Visionaries,LMNO, T- Love & Iriscience,
Joe Finger,
Mary Jane Girls,
Richard Hell and the Voidoids,
Funky Four + One,
Metal Thangz,
The Toasters,
Moebius,
Depeche Mode,
cv313,
The Cramps,
Japan,
The Birthday Party,
Cheater Slicks,
Rakim,
The Busters,
MDC,
The Five Americans,
Darondo,
The Sound,
Young Marble Giants,
Girls At Our Best!,
CMW,
The Barracudas,
New Age Steppers,
Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch.
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.