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 Lebanon and from Salvador.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Tokyo and Tokyo.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the marimba sounds with much patience.
I was there when David Bowie 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 a-ha to the grime kids.
I played it at the Hacienda.
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 Arab on Radar. All the underground hits.
All Jerry Gold Smith tracks. I heard you have a vinyl of every Kango’s Stein Massive record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Sam Rivers 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?
Patti Smith,
Beasts of Bourbon,
Lee Hazlewood,
U.S. Maple,
Flamin' Groovies,
Robert Wyatt,
The Birthday Party,
The Move,
Wally Richardson,
The Beau Brummels,
Audionom,
Joensuu 1685,
The Skatalites,
Andrew Ashong & Theo Parrish,
Brothers Johnson,
Lou Reed & John Cale,
The American Breed,
Clear Light,
Susan Cadogan,
Erykah Badu,
Johnny Osbourne,
The Peanut Butter Conspiracy,
48th St. Collective,
Gian Franco Pienzio,
New York Dolls,
Justin Hinds & The Dominoes,
Wasted Youth,
The Raincoats,
Ten City,
Todd Terry,
Avey Tare,
Sun Ra Arkestra,
Slick Rick,
Robert Hood,
The Names,
Radio Birdman,
Los Fastidios,
Gang Gang Dance,
Stockholm Monsters,
Boogie Down Productions,
Louis and Bebe Barron,
James White and The Blacks,
Terry Callier,
Lafayette Afro Rock Band,
K-Klass,
Television Personalities,
Second Layer,
Procol Harum,
Eric B and Rakim,
The Blackbyrds,
Newcleus,
Pole,
David Axelrod,
Q65,
Underground Resistance,
the Sonics,
Neil Young,
Ohio Players,
Sugar Minott,
Public Enemy,
Ice-T,
DJ Sneak,
Unwound,
Babytalk, Babytalk, Babytalk, Babytalk.
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.