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 Turkey and from Jakarta.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Halifax and Spokane.
I'm losing my edge to the art-school Manchester 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the linndrum sounds with much patience.
I was there when Michael McDonald 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 Outsiders to the electroclash kids.
I played it at Trash.
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 Flipper. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every Yaz record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Barclay James Harvest record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
Lonnie Liston Smith,
Scientists,
Desert Stars,
The Gap Band,
The Happenings,
AZ,
Jesper Dahlback,
David Axelrod,
Boz Scaggs,
Scratch Acid,
T.S.O.L.,
Qualms,
Art Ensemble Of Chicago,
Reagan Youth,
Ten City,
Wasted Youth,
Brothers Johnson,
Andrew Hill,
Scott Walker + Sunn O))),
The Music Machine,
The Fuzztones,
Lalann,
Crime,
Excepter,
Rhythm & Sound,
The Beau Brummels,
Talk Talk,
Eyeless In Gaza,
Davy DMX,
Black Bananas,
Aswad,
Terrestrial Tones,
Junior Murvin,
Stiv Bators,
the Slits,
June of 44,
Lou Reed,
Mandrill,
Don Cherry,
Q and Not U,
Moby Grape,
Delta 5,
Loose Ends,
Dead Boys,
MDC,
Mary Jane Girls,
Röyhkä ja Rättö ja Lehtisalo,
Camberwell Now,
Stetsasonic,
Avey Tare's Slasher Flicks,
Dr. Dre and Snoop Doggy Dog,
T. Rex,
Ralphi Rosario,
Magazine,
Main Source,
The Knickerbockers,
Ossler,
Kerri Chandler,
The Associates,
Erykah Badu,
The Monochrome Set, The Monochrome Set, The Monochrome Set, The Monochrome Set.
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.