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 Jamaica and from Jakarta.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1971.
I'm losing my edge.
To all the kids in Lille and Portland.
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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the snare 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 Black Flag to the rap 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 X-102. All the underground hits.
All Bronski Beat tracks. I heard you have a vinyl of every Todd Terry record on German import.
I heard that you have a white label of every seminal electroclash 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 chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeru the Damaja,
Eli Mardock,
Nico,
The Young Rascals,
Drexciya,
The Beau Brummels,
Brick,
The Count Five,
Prince Buster,
Barbara Tucker,
Aswad,
Siouxsie and the Banshees,
Grey Daturas,
Section 25,
Minor Threat,
Surgeon,
Terrestrial Tones,
Rapeman,
The Fall,
Kango’s Stein Massive,
The Toasters,
DNA,
Dorothy Ashby,
Faust,
Lou Reed,
Boz Scaggs,
Mr. Review,
Rhythim Is Rhythim,
The Music Machine,
Hot Snakes,
Robert Hood,
Scan 7,
MC5,
June Days,
Stereo Dub,
Avey Tare & Kría Brekkan,
Vainqueur,
Kauko Röyhkä ja Narttu,
Lyres,
Crooked Eye,
Patti Smith,
The Fuzztones,
the Swans,
Ohio Players,
Junior Murvin,
Easy Going,
The Misunderstood,
PIL,
OOIOO,
Man Parrish,
Byron Stingily,
Cabaret Voltaire,
Faraquet,
Bobbi Humphrey,
Peter & Gordon,
Sun Ra Arkestra,
Tears for Fears,
Marshall Jefferson,
Kas Product,
Q65,
The New Christs,
Dark Day,
The Fire Engines, The Fire Engines, The Fire Engines, The Fire Engines.
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.