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 San Marino and from Madrid.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Glasgow and Edmonton.
I'm losing my edge to the art-school Copenhagen 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 mellotron sounds with much patience.
I was there when Captain Beefheart 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 Suburban Knight to the crunk kids.
I played it at the Spitz.
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 Hasil Adkins. All the underground hits.
All Bill Near tracks. I heard you have a vinyl of every Joe Smooth record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Spoonie Gee record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bluetip,
Blake Baxter,
Sad Lovers and Giants,
The Count Five,
Soulsonic Force,
The Fall,
Pete Rock & C.L. Smooth,
Tres Demented,
Major Organ And The Adding Machine,
Girls At Our Best!,
The Associates,
Jeru the Damaja,
Lebanon Hanover,
Ultravox,
a-ha,
Half Japanese,
Slave,
Todd Terry,
Tomorrow,
Maurizio,
The Angels of Light,
Basic Channel,
Orchestral Manoeuvres in the Dark,
Donald Byrd,
The Divine Comedy,
Kaleidoscope,
Davy DMX,
Dorothy Ashby,
Adolescents,
Harmonia,
Black Moon,
the Bar-Kays,
Accadde A,
Robert Hood,
the Soft Cell,
Scrapy,
Man Eating Sloth,
Hot Snakes,
Bobby Sherman,
Rhythm & Sound,
Eric Copeland,
Nation of Ulysses,
Boogie Down Productions,
Kerri Chandler,
Kool G Rap & DJ Polo,
Faraquet,
Louis and Bebe Barron,
the Sonics,
Roxy Music,
K-Klass,
Moebius,
Underground Resistance,
Eric Dolphy,
Public Image Ltd.,
Niagra,
The Dead C,
Kango’s Stein Massive,
Aaron Thompson,
Super Lover Cee & Casanova Rud,
Oblivians,
Johnny Clarke,
London Community Gospel Choir,
Japan, Japan, Japan, Japan.
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.