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 Belize and from Cairo.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Toronto and Glasgow.
I'm losing my edge to the art-school Woodstock 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Deakin to the dance 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 Skriet. All the underground hits.
All Max Romeo tracks. I heard you have a vinyl of every The Stooges record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a the Sonics record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Archie Shepp,
The Zeros,
Au Pairs,
the Germs,
The Invisible,
Blancmange,
Sandy B,
Kenny Larkin,
Sly & The Family Stone,
Adolescents,
Danielle Patucci,
Gang Gang Dance,
L. Decosne,
Big Daddy Kane,
Steve Hackett,
Bobby Byrd,
The Cowsills,
Joyce Sims,
Marshall Jefferson,
Spandau Ballet,
Lizzy Mercier Descloux,
Avey Tare's Slasher Flicks,
Brass Construction,
The Trojans,
The Techniques,
The Velvet Underground,
Roy Ayers Ubiquity,
Dead Boys,
Brick,
Nico,
AZ,
Rosa Yemen,
Rekid,
Cabaret Voltaire,
Dave Gahan,
Visage,
Red Lorry Yellow Lorry,
Sight & Sound,
Anakelly,
Nils Olav,
The Black Dice,
Andrew Ashong & Theo Parrish,
Idris Muhammad,
Grandmaster Flash,
Quadrant,
Max Romeo,
The Mighty Diamonds,
Khruangbin,
Orchestral Manoeuvres in the Dark,
kango's stein massive,
Fela Kuti,
Suburban Knight,
Fluxion,
Second Layer,
Country Joe & The Fish,
Roxy Music,
Scrapy,
Eden Ahbez,
Scott Walker,
Minny Pops,
Delon & Dalcan,
Gang Starr,
Michelle Simonal,
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.