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 Azerbaijan 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 1962 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Shanghai.
I'm losing my edge to the art-school Portland 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 guitar 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 Royal Trux to the grime 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 Jesper Dahlbäck. All the underground hits.
All Mad Mike tracks. I heard you have a vinyl of every Saccharine Trust 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 an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Fugazi record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ponytail,
T.S.O.L.,
Alphaville,
Sun Ra Arkestra,
Bad Manners,
Ohio Players,
The Searchers,
Sparks,
Bob Dylan,
Lyres,
Underground Resistance,
Wasted Youth,
Deepchord,
Theoretical Girls,
Erykah Badu,
Outsiders,
Major Organ And The Adding Machine,
The Associates,
Main Source,
Nico,
Soul II Soul,
Ultravox,
LL Cool J,
Barclay James Harvest,
Donny Hathaway,
The Slits,
The Blues Magoos,
JFA,
Archie Shepp,
Intrusion,
8 Eyed Spy,
Unrelated Segments,
Mandrill,
Alton Ellis,
New Order,
Ornette Coleman,
Pantytec,
The United States of America,
James Chance & The Contortions,
Dave Gahan,
Heavy D & The Boyz,
Charles Mingus,
Andrew Ashong & Theo Parrish,
Warsaw,
Public Image Ltd.,
Flash Fearless,
Babytalk,
Slave,
The Residents,
Smog,
Jerry Gold Smith,
Bill Near,
Spoonie Gee,
Juan Atkins,
Dark Day,
Deakin,
Make Up,
Roy Ayers,
Maurizio,
Pharaoh Sanders and the Fire Engines,
The Black Dice,
Bill Wells,
Sun City Girls, Sun City Girls, Sun City Girls, Sun City Girls.
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.