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 Jamaica and from Portland.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Manila and Houston.
I'm losing my edge to the art-school Portland 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Tomorrow to the disco kids.
I played it at the Troubador.
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 Camron Feat. Memphis Bleek And Beenie Seigel. All the underground hits.
All The Mojo Men tracks. I heard you have a vinyl of every Skriet record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Porter Ricks record.
I hear that you and your band have sold your güiro and bought a guitar.
I hear that you and your band have sold your guitar and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fatback Band,
Arthur Verocai,
Nirvana,
The Alarm Clocks,
Sonny Sharrock,
ABC,
Underground Resistance,
Big Daddy Kane,
D'Angelo,
Johnny Osbourne,
James Chance & The Contortions,
Lizzy Mercier Descloux,
Kayak,
Brick,
8 Eyed Spy,
Ralphi Rosario,
The Jesus and Mary Chain,
Television,
John Cale,
Public Image Ltd.,
Letta Mbulu,
Von Mondo,
Rhythm & Sound,
Pantytec,
Hashim,
Iggy Pop,
Amon Düül II,
Kauko Röyhkä ja Narttu,
Crooked Eye,
Magma,
The Happenings,
Freddie Wadling,
Rekid,
The Move,
The Shadows of Knight,
T.S.O.L.,
Public Enemy,
Ludus,
Godley & Creme,
Main Source,
Orchestral Manoeuvres in the Dark,
Khruangbin,
Aloha Tigers,
Dual Sessions,
The American Breed,
The Durutti Column,
Organ,
Pole,
OOIOO,
Chrome,
Absolute Body Control,
Country Joe & The Fish,
The Count Five,
John Holt,
Fad Gadget,
the Association,
Negative Approach,
Faraquet,
Severed Heads,
Howard Jones,
Lakeside,
Tommy Roe,
Suicide, Suicide, Suicide, Suicide.
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.