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 Malawi and from Spokane.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 Portland and London.
I'm losing my edge to the art-school Hong Kong 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 synthesizer 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 Fort Wilson Riot to the funk kids.
I played it at Trash.
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 Gil Scott-Heron and Jamie xx. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every John Cale 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 '80s cut and another box set from the '90s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minor Threat,
Scratch Acid,
Harpers Bizarre,
Lonnie Liston Smith,
Faraquet,
Ultimate Spinach,
Marvin Gaye,
The Zeros,
Alison Limerick,
The West Coast Pop Art Experimental Band,
The Monochrome Set,
Tomorrow,
John Holt,
The Shadows of Knight,
The Gories,
Ultra Naté,
Be Bop Deluxe,
Brass Construction,
the Slits,
Jerry's Kids,
Guru Guru,
Joe Smooth,
F. McDonald,
Lower 48,
Sparks,
Chrome,
Liliput,
Oneida,
The Skatalites,
The Martian,
Gang Green,
Glambeats Corp.,
Bobby Hutcherson,
Section 25,
Mars,
Monolake,
The Doors,
Black Flag,
Charles Mingus,
Rhythm & Sound,
Fluxion,
Public Image Ltd.,
Colin Newman,
Rites of Spring,
The Electric Prunes,
Main Source,
DJ Sneak,
Ornette Coleman,
PIL,
Johnny Osbourne,
Anthony Braxton,
Crash Course in Science,
The Durutti Column,
Ronnie Foster,
Motorama,
Tim Buckley,
Pussy Galore,
Soul II Soul,
Todd Terry,
The Angels of Light, The Angels of Light, The Angels of Light, The Angels of Light.
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.