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 Afghanistan and from Salvador.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1963 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and Spokane.
I'm losing my edge to the art-school Tehran 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 snare sounds with much patience.
I was there when Captain Beefheart 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 Detroit Cobras to the dance 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 Yellowson. All the underground hits.
All Flipper tracks. I heard you have a vinyl of every Black Pus record on German import.
I heard that you have a white label of every seminal grime 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 snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Public Image Ltd. record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gian Franco Pienzio,
The Flesh Eaters,
Arthur Verocai,
X-101,
Ultravox,
Sex Pistols,
Josef K,
The Divine Comedy,
Godley & Creme,
Bobby Byrd,
Tom Boy,
Rotary Connection,
The Evens,
Easy Going,
Ronnie Foster,
Faust,
Grandmaster Flash,
Lindisfarne,
Gang Green,
Bush Tetras,
Half Japanese,
Henry Cow,
Yusef Lateef,
Rod Modell,
Lou Reed & Metallica,
David Axelrod,
Crash Course in Science,
Spandau Ballet,
the Association,
Dual Sessions,
Robert Görl,
Scientists,
John Lydon,
Iggy Pop,
Newcleus,
Malaria!,
Suicide,
The Neon Judgement,
Outsiders,
Dead Boys,
Sound Behaviour,
Country Teasers,
The Toasters,
Lalo Schifrin,
Angels of Light & Akron/Family,
Graham Central Station,
Deakin,
Basic Channel,
Orchestral Manoeuvres in the Dark,
Black Flag,
The Last Poets,
Ajijia Myrayebe,
Lalann,
Gang Starr,
Althea and Donna,
Main Source,
Rhythm & Sound,
Fugazi,
Super Lover Cee & Casanova Rud,
The Detroit Cobras,
The Tremeloes, The Tremeloes, The Tremeloes, The Tremeloes.
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.