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 Peru and from Portland.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Mexico City and Manchester.
I'm losing my edge to the art-school Salvador 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Scan 7 to the grime kids.
I played it at the Roxy.
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 The Chocolate Watch Band. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every Oneida 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 '50s cut and another box set from the '90s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a U.S. Maple record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
Faraquet,
Roger Hodgson,
The Gladiators,
Kool G Rap & DJ Polo,
Niagra,
Simply Red,
Jacob Miller,
Sound Behaviour,
Mandrill,
The Five Americans,
The Mighty Diamonds,
Eli Mardock,
Vladislav Delay,
Kerrie Biddell,
Big Daddy Kane,
Alison Limerick,
The Jesus and Mary Chain,
Yellowson,
Todd Terry,
Country Joe & The Fish,
Jeff Mills,
Terrestrial Tones,
Make Up,
Yusef Lateef,
Jeff Lynne,
Iggy Pop,
the Fania All-Stars,
Crispian St. Peters,
Magazine,
Camberwell Now,
Swell Maps,
Glenn Branca,
Gang of Four,
the Germs,
Tomorrow,
Visionaries,LMNO, T- Love & Iriscience,
Dorothy Ashby,
Circle Jerks,
Buzzcocks,
Eve St. Jones,
Animal Collective,
The Wake,
Letta Mbulu,
Steve Hackett,
Deadbeat,
The Shadows of Knight,
Marcia Griffiths,
One Last Wish,
Marmalade,
kango's stein massive,
Chrome,
John Foxx,
Bluetip,
David Axelrod,
The Last Poets,
Susan Cadogan,
Pussy Galore,
The Doobie Brothers,
Piero Umiliani,
Pagans,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.