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 Iraq and from Mumbai.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Lagos and Portland.
I'm losing my edge to the art-school Philadelphia 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 clarinet 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 The J.B.'s to the crunk 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 World's Most. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every Second Layer record on German import.
I heard that you have a white label of every seminal jazz 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 guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Gladiators record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Zeros,
Blossom Toes,
Ponytail,
The Gladiators,
Camron Feat. Memphis Bleek And Beenie Seigel,
Dorothy Ashby,
Kurtis Blow,
Kaleidoscope,
Bush Tetras,
Desert Stars,
Guru Guru,
Deepchord,
Stockholm Monsters,
Marine Girls,
Minnie Riperton,
Faust,
Los Fastidios,
Hardrive,
Fatback Band,
The Gories,
Fugazi,
Little Man,
Cameo,
Todd Terry,
Eli Mardock,
Liaisons Dangereuses,
Pole,
Lou Christie,
The Misunderstood,
Television,
The West Coast Pop Art Experimental Band,
Smog,
Charles Mingus,
Easy Going,
Gabor Szabo,
The Remains,
CMW,
Alton Ellis,
Robert Hood,
Peter Gordon & Love of Life Orchestra,
New Age Steppers,
Chris & Cosey,
Chris Corsano,
Vaughan Mason & Crew,
Adolescents,
Super Lover Cee & Casanova Rud,
Notorious Big And Bone Thugs,
Sonny Sharrock,
Alphaville,
Babytalk,
Ultramagnetic MC's,
Visage,
Nik Kershaw,
Country Teasers,
Black Sheep,
Gerry Rafferty,
Amon Düül,
Tears for Fears,
The Sisters of Mercy,
Mark Hollis,
Black Flag,
Kango’s Stein Massive,
Frankie Knuckles,
EPMD, EPMD, EPMD, EPMD.
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.