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 South Africa and from Mumbai.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Bologna.
I'm losing my edge to the art-school Lille 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 rhodes 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 Lightning Bolt to the rap 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 Young Rascals. All the underground hits.
All Dawn Penn tracks. I heard you have a vinyl of every Livin' Joy record on German import.
I heard that you have a white label of every seminal funk 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 guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Janne Schatter,
The Toasters,
Sound Behaviour,
Notorious BIG live in Amsterdam,
the Soft Cell,
Bizarre Inc.,
Red Lorry Yellow Lorry,
Echo & the Bunnymen,
Kerri Chandler,
Brothers Johnson,
Ponytail,
the Bar-Kays,
Saccharine Trust,
La Düsseldorf,
Agent Orange,
Black Pus,
Sex Pistols,
The Knickerbockers,
The Victims,
Jeru the Damaja,
Gabor Szabo,
The Vogues,
Little Man,
Fugazi,
Cybotron,
Minor Threat,
AZ,
Model 500,
ABC,
Roxy Music,
Vainqueur,
Supertramp,
Kenny Larkin,
Kings Of Tomorrow,
Röyhkä ja Rättö ja Lehtisalo,
F. McDonald,
The Dead C,
Maurizio,
Mr. Review,
The Human League,
Yusef Lateef,
A Flock of Seagulls,
Bobby Womack,
Harpers Bizarre,
Richard Hell and the Voidoids,
Tres Demented,
Smog,
Don Cherry,
Arthur Verocai,
Yazoo,
Darondo,
Ajijia Myrayebe,
The Royal Family And The Poor,
Bang on a Can All-Stars,
Sixth Finger,
The Cramps,
LL Cool J,
Radiohead,
The Motions,
Cabaret Voltaire,
The United States of America,
The Peanut Butter Conspiracy,
Infiniti, Infiniti, Infiniti, Infiniti.
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.