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 Korea North and from Copenhagen.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1972.
I'm losing my edge.
To all the kids in London and Lille.
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 snare sounds with much patience.
I was there when Lou Reed 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 Fugazi to the punk 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 kango's stein massive. All the underground hits.
All Fatback Band tracks. I heard you have a vinyl of every The Birthday Party record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Moby Grape record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Graham Central Station,
Sad Lovers and Giants,
The Blues Magoos,
a-ha,
Sly & The Family Stone,
Second Layer,
The Moody Blues,
Bad Manners,
The Slackers,
Terrestrial Tones,
The Knickerbockers,
Kaleidoscope,
The Music Machine,
Bronski Beat,
the Soft Cell,
Barbara Tucker,
Fat Boys,
Ten City,
Johnny Clarke,
Wire,
Grandmaster Flash,
Roy Ayers Ubiquity,
Aaron Thompson,
Janne Schatter,
Rahsaan Roland Kirk,
Eric Copeland,
Sound Behaviour,
Bush Tetras,
Adolescents,
Robert Hood,
Jacob Miller,
Mission of Burma,
The Misunderstood,
Con Funk Shun,
The Grass Roots,
Visage,
Erykah Badu,
Radio Birdman,
The Gun Club,
Crooked Eye,
Motorama,
Dorothy Ashby,
Organ,
Index,
Sällskapet,
The Cure,
Skriet,
The Slits,
Brass Construction,
Judy Mowatt,
The J.B.'s,
Man Eating Sloth,
The Five Americans,
Soul II Soul,
Sonic Youth,
Terror Squad Feat. Camron,
Eric Dolphy,
Scan 7,
Vainqueur,
Nico,
Strawberry Alarm Clock,
Black Flag,
Crime,
Darondo, Darondo, Darondo, Darondo.
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.