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 Kiribati and from Johannesburg.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Manila and Copenhagen.
I'm losing my edge to the art-school Tokyo 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the oboe sounds with much patience.
I was there when Tom Verlaine 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 Searchers to the grime 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 Rosa Yemen. All the underground hits.
All Country Teasers tracks. I heard you have a vinyl of every Lee Hazlewood 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 '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a X-Ray Spex record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arab on Radar,
Soul II Soul,
The Slits,
Alton Ellis,
Avey Tare,
10cc,
Red Lorry Yellow Lorry,
Steve Hackett,
Sarah Menescal,
The American Breed,
Hashim,
Liaisons Dangereuses,
DNA,
Arthur Verocai,
Susan Cadogan,
Barry Ungar,
Thinking Fellers Union Local 282,
Skaos,
Royal Trux,
Cymande,
DeepChord presents Echospace,
X-Ray Spex,
Main Source,
Camron Feat. Jay Z And Juelz,
The Cure,
Minnie Riperton,
Rahsaan Roland Kirk,
The Cowsills,
Adolescents,
Johnny Osbourne,
Scion,
Röyhkä ja Rättö ja Lehtisalo,
The Flesh Eaters,
Gang Gang Dance,
Todd Terry,
Gang Starr,
Malaria!,
The Victims,
The Slackers,
The Men They Couldn't Hang,
Camron Feat. Memphis Bleek And Beenie Seigel,
Graham Central Station,
Dawn Penn,
Dennis Brown,
Ken Boothe,
Junior Murvin,
Wasted Youth,
The Selecter,
The Buckinghams,
ABBA,
Sex Pistols,
Pussy Galore,
Wally Richardson,
Pierre Henry,
Roger Hodgson,
Amon Düül II,
The West Coast Pop Art Experimental Band,
Theoretical Girls,
Marine Girls,
Symarip,
The Fall,
Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan.
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.