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 Switzerland and from Columbus.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Taipei and Accra.
I'm losing my edge to the art-school Columbus 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the snare sounds with much patience.
I was there when David Bowie 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 Birthday Party to the jazz kids.
I played it at the 40 Watt.
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 Radiohead. All the underground hits.
All Piero Umiliani tracks. I heard you have a vinyl of every Spandau Ballet record on German import.
I heard that you have a white label of every seminal crunk 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 harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Wasted Youth record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Absolute Body Control,
Big Daddy Kane,
Dual Sessions,
Wally Richardson,
The Busters,
The Music Machine,
Warsaw,
T.S.O.L.,
The Gladiators,
Visage,
The Dirtbombs,
Kango’s Stein Massive,
Lightning Bolt,
Drive Like Jehu,
The Doobie Brothers,
Andrew Hill,
Gang of Four,
Thee Headcoats,
Aswad,
Teenage Jesus and the Jerks,
Yaz,
Gang Starr,
The Moleskins,
Minor Threat,
Avey Tare,
Byron Stingily,
Organ,
The Doors,
The Move,
Pantaleimon,
World's Most,
Nas,
The West Coast Pop Art Experimental Band,
The Mummies,
Gil Scott Heron,
Hashim,
Gabor Szabo,
China Crisis,
Pulsallama,
The Smiths,
Cal Tjader,
Tim Buckley,
The Litter,
Laurel Aitken,
Camberwell Now,
Colin Newman,
Kayak,
Ultramagnetic MC's,
Gregory Isaacs,
The Human League,
Monolake,
Massinfluence,
Flash Fearless,
Tres Demented,
Marc Romboy vs. Booka Shade,
The Names,
Pere Ubu,
The Misunderstood,
Roy Ayers Ubiquity,
Metal Thangz,
Camron Feat. Jay Z And Juelz,
Notorious BIG live in Amsterdam,
Jacob Miller, Jacob Miller, Jacob Miller, Jacob Miller.
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.