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 Guyana and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1977.
I'm losing my edge.
To all the kids in Tokyo and Delhi.
I'm losing my edge to the art-school Mexico City 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 Zapp practice in a loft in Hamilton.
I was working on the organ sounds with much patience.
I was there when Robert Palmer 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 Public Enemy to the crunk 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 Ralphi Rosario. All the underground hits.
All Lizzy Mercier Descloux tracks. I heard you have a vinyl of every X-Ray Spex 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 '90s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
Adolescents,
Kenny Larkin,
The Dirtbombs,
Eyeless In Gaza,
Todd Terry,
Jesper Dahlbäck,
The Martian,
MC5,
Big Daddy Kane,
Bronski Beat,
Skaos,
X-101,
OOIOO,
Quadrant,
Marmalade,
cv313,
Erasure,
Throbbing Gristle,
The Remains,
Lucky Dragons,
Tres Demented,
Hoover,
Kaleidoscope,
Public Image Ltd.,
Reuben Wilson,
Man Eating Sloth,
Deepchord,
Avey Tare's Slasher Flicks,
Jeru the Damaja,
Boredoms,
Ultra Naté,
The Seeds,
Pole,
Crime,
Royal Trux,
The Standells,
Masters at Work,
Unwound,
The Gap Band,
Chris Corsano,
Marcia Griffiths,
Sonic Youth,
The Trojans,
Kerrie Biddell,
Moss Icon,
Peter and Kerry,
R.M.O.,
Second Layer,
Terrestrial Tones,
Fluxion,
The Slits,
Alice Coltrane,
Wasted Youth,
Yazoo,
KRS-One,
New Age Steppers,
John Coltrane,
Lou Reed,
Sexual Harrassment,
The Selecter, The Selecter, The Selecter, The Selecter.
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.