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 Belize and from Taipei.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Shanghai and Sao Paulo.
I'm losing my edge to the art-school New York 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 chamberlin 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 Sugar Minott to the techno 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 Eric Dolphy. All the underground hits.
All Jeru the Damaja tracks. I heard you have a vinyl of every LL Cool J record on German import.
I heard that you have a white label of every seminal grunge 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 snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cheater Slicks,
A Flock of Seagulls,
Quando Quango,
The Gun Club,
Robert Wyatt,
Leonard Cohen,
Scientists,
Althea and Donna,
8 Eyed Spy,
Nils Olav,
Sex Pistols,
Reagan Youth,
Crooked Eye,
Al Stewart,
Intrusion,
Cabaret Voltaire,
Spandau Ballet,
Funky Four + One,
The Blackbyrds,
Half Japanese,
The Jesus and Mary Chain,
Suburban Knight,
Rowland S Howard / Lydia Lunch,
Derrick May,
U.S. Maple,
Second Layer,
Amazonics,
Camron Feat. Memphis Bleek And Beenie Seigel,
Anakelly,
Glambeats Corp.,
Avey Tare's Slasher Flicks,
48th St. Collective,
Eden Ahbez,
Nick Fraelich,
Grandmaster Flash and the Furious Five,
Average White Band,
Youth Brigade,
Oppenheimer Analysis,
FM Einheit,
The J.B.'s,
The Stooges,
Pylon,
Ludus,
X-101,
Glenn Branca,
Johnny Clarke,
Magma,
Thinking Fellers Union Local 282,
Public Enemy,
In Retrospect,
Popol Vuh,
Reuben Wilson,
Pharoah Sanders,
The Divine Comedy,
Television,
Brick,
The Raincoats,
Eric Dolphy,
Chris & Cosey,
Infiniti,
Aloha Tigers,
Moby Grape,
Yellowson, Yellowson, Yellowson, Yellowson.
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.