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 Solomon Islands and from Tokyo.
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 1973.
I'm losing my edge.
To all the kids in Tokyo and Paris.
I'm losing my edge to the art-school Delhi 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 1984 at the first Arcadia practice in a loft in London.
I was working on the sitar 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 John Lydon to the jazz kids.
I played it at the Roxy.
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 Prince Buster. All the underground hits.
All Section 25 tracks. I heard you have a vinyl of every Stiv Bators record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Names record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Byrd,
Eden Ahbez,
Nas,
Stockholm Monsters,
Severed Heads,
Cecil Taylor,
Robert Hood,
Big Daddy Kane,
Amazonics,
The Grass Roots,
Wasted Youth,
The Cramps,
Rosa Yemen,
Boogie Down Productions,
JFA,
The Cosmic Jokers,
Barbara Tucker,
Pere Ubu,
Lou Christie,
Arcadia,
Rapeman,
Marc Romboy vs. Booka Shade,
Mad Mike,
Matthew Bourne,
the Slits,
Robert Görl,
Ash Ra Tempel,
One Last Wish,
The Mummies,
Public Enemy,
The Vogues,
T.S.O.L.,
Patti Smith,
Intrusion,
Nirvana,
Mission of Burma,
Sister Nancy,
Sugar Minott,
Quando Quango,
Von Mondo,
Swell Maps,
The Smoke,
Avey Tare,
Boredoms,
Orchestral Manoeuvres in the Dark,
Ten City,
Bluetip,
Pharoah Sanders,
Aloha Tigers,
Gichy Dan,
Richard Hell and the Voidoids,
Drive Like Jehu,
The Peanut Butter Conspiracy,
Lucky Dragons,
Chris Corsano,
The Victims,
June of 44,
London Community Gospel Choir,
Eli Mardock,
Brass Construction,
Wolf Eyes,
Lightning Bolt, Lightning Bolt, Lightning Bolt, Lightning Bolt.
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.