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 Niger and from Philadelphia.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Toronto and Lille.
I'm losing my edge to the art-school Columbus 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 Donald Fagen 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 Electric Prunes 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 The Mojo Men. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every London Community Gospel Choir record on German import.
I heard that you have a white label of every seminal punk 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 mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Pantytec record.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jerry Gold Smith,
Porter Ricks,
The Last Poets,
Bootsy's Rubber Band,
The Slackers,
Minutemen,
10cc,
Cameo,
Aaron Thompson,
Jandek,
Pylon,
Scientists,
Ten City,
X-Ray Spex,
Sun Ra Arkestra,
Harpers Bizarre,
Black Pus,
Eurythmics,
Country Teasers,
Robert Görl,
The Blackbyrds,
The Gories,
Lou Reed & John Cale,
Bobbi Humphrey,
Skarface,
Dark Day,
Sly & The Family Stone,
Josef K,
Essential Logic,
Red Lorry Yellow Lorry,
Cymande,
The Vogues,
Dead Boys,
Adolescents,
Mark Hollis,
Danielle Patucci,
Rakim,
The Seeds,
Deadbeat,
Vladislav Delay,
Ponytail,
Wighnomy Brothers & Robag Wruhme,
Icehouse,
Oppenheimer Analysis,
Alton Ellis,
Marcia Griffiths,
Morten Harket,
Duran Duran,
Glambeats Corp.,
Bad Manners,
Wally Richardson,
Camouflage,
Arcadia,
Toni Rubio,
Japan,
Yellowson,
Bronski Beat,
Delta 5,
Liaisons Dangereuses,
Amazonics,
Brand Nubian,
Suicide,
Con Funk Shun, Con Funk Shun, Con Funk Shun, Con Funk Shun.
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.