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 Czech Republic and from Sao Paulo.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Glasgow and Sao Paulo.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the mellotron 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 Archie Shepp to the jazz 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 Skriet. All the underground hits.
All Animal Collective tracks. I heard you have a vinyl of every Kaleidoscope record on German import.
I heard that you have a white label of every seminal dance 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 rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Dennis Brown record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Howard Jones,
Man Parrish,
The New Christs,
Peter & Gordon,
Yusef Lateef,
The Move,
Sam Rivers,
Faraquet,
Lucky Dragons,
A Certain Ratio,
Peter and Kerry,
The Fire Engines,
R.M.O.,
Rakim,
Thinking Fellers Union Local 282,
Interpol,
Heavy D & The Boyz,
Brass Construction,
The Leaves,
Rufus Thomas,
Larry & the Blue Notes,
The Modern Lovers,
Susan Cadogan,
Gang Gang Dance,
Chrome,
Alison Limerick,
Flash Fearless,
Stockholm Monsters,
Pete Rock & C.L. Smooth,
Alton Ellis,
Young Marble Giants,
Derrick May,
Hasil Adkins,
Pussy Galore,
Monks,
Motorama,
The Mighty Diamonds,
Johnny Clarke,
48th St. Collective,
The Beau Brummels,
Throbbing Gristle,
PIL,
Godley & Creme,
Minny Pops,
Tim Buckley,
Thee Headcoats,
The Music Machine,
The Selecter,
Panda Bear,
Deepchord,
Excepter,
The Walker Brothers,
Oneida,
Gang of Four,
Donald Byrd,
Television,
Sarah Menescal,
The Count Five,
Sister Nancy, Sister Nancy, Sister Nancy, Sister Nancy.
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.