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 Australia and from Halifax.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Lyon and Bologna.
I'm losing my edge to the art-school Houston 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 theremin 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 Slick Rick to the funk kids.
I played it at the Spitz.
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 Michelle Simonal. All the underground hits.
All Gang Green tracks. I heard you have a vinyl of every New Age Steppers 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 '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a kango's stein massive record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fela Kuti,
Fifty Foot Hose,
London Community Gospel Choir,
The Flesh Eaters,
Metal Thangz,
Ajijia Myrayebe,
Dennis Brown,
Black Pus,
Sight & Sound,
The Dirtbombs,
Aaron Thompson,
Camron Feat. Memphis Bleek And Beenie Seigel,
Red Lorry Yellow Lorry,
Robert Hood,
Ohio Players,
Soulsonic Force,
Flash Fearless,
Section 25,
Liliput,
These Immortal Souls,
The Fuzztones,
Malaria!,
the Normal,
Rod Modell,
KRS-One,
Judy Mowatt,
The Music Machine,
Big Daddy Kane,
Sun City Girls,
The American Breed,
The Residents,
Lightning Bolt,
Monks,
Absolute Body Control,
Angels of Light & Akron/Family,
One Last Wish,
Chris & Cosey,
Lungfish,
Marmalade,
Lou Reed,
Todd Terry,
Heaven 17,
Deepchord,
Rites of Spring,
Young Marble Giants,
Sarah Menescal,
UT,
Pet Shop Boys,
The West Coast Pop Art Experimental Band,
Niagra,
Silicon Teens,
Blancmange,
Skarface,
Fatback Band,
Thinking Fellers Union Local 282,
Black Moon,
Faraquet,
Main Source,
Steve Hackett,
U.S. Maple,
The Slackers,
Gastr Del Sol,
Brothers Johnson, Brothers Johnson, Brothers Johnson, Brothers Johnson.
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.