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 Brazil and from Bremen.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Woodstock.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the güiro sounds with much patience.
I was there when Nile Rodgers 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 Lee Hazlewood to the funk kids.
I played it at the Roxy.
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 Flash Fearless. All the underground hits.
All Dead Boys tracks. I heard you have a vinyl of every A Certain Ratio record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glambeats Corp.,
The Fire Engines,
Avey Tare's Slasher Flicks,
Tomorrow,
Silicon Teens,
Letta Mbulu,
CMW,
Patti Smith,
Index,
DJ Style,
Lyres,
Nico,
Blancmange,
Ohio Players,
Marcia Griffiths,
Dark Day,
Infiniti,
Minutemen,
Chris Corsano,
Andrew Ashong & Theo Parrish,
Andrew Hill,
Popol Vuh,
Pole,
Alton Ellis,
KRS-One,
Slave,
Joyce Sims,
Delon & Dalcan,
Kaleidoscope,
OOIOO,
Television Personalities,
Lungfish,
Fugazi,
Y Pants,
The Fugs,
The Fuzztones,
Severed Heads,
Ronan,
The Searchers,
Adolescents,
Laurel Aitken,
Flipper,
the Association,
Smog,
Johnny Osbourne,
Beasts of Bourbon,
Sällskapet,
The Young Rascals,
Robert Wyatt,
Girls At Our Best!,
Wings,
The Vogues,
Supertramp,
Thinking Fellers Union Local 282,
Groovy Waters,
James White and The Blacks,
Radiohead,
Marmalade,
Crispy Ambulance,
Shuggie Otis, Shuggie Otis, Shuggie Otis, Shuggie Otis.
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.