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 Cameroon and from Philadelphia.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Milan and Mumbai.
I'm losing my edge to the art-school Copenhagen 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 organ 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 Roy Ayers Ubiquity to the rap kids.
I played it at the Spitz.
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 Unrelated Segments. All the underground hits.
All Chris Corsano tracks. I heard you have a vinyl of every Freddie Wadling 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 '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dirtbombs,
Eyeless In Gaza,
Zero Boys,
Absolute Body Control,
Porter Ricks,
AZ,
Joe Finger,
Traffic Nightmare,
The Toasters,
DeepChord presents Echospace,
Aloha Tigers,
Bobby Womack,
the Soft Cell,
Avey Tare,
Joe Smooth,
The Velvet Underground,
Monolake,
Mr. Review,
Agent Orange,
Q65,
Smog,
Larry & the Blue Notes,
Guru Guru,
the Germs,
Strawberry Alarm Clock,
Robert Hood,
Flamin' Groovies,
Susan Cadogan,
Danielle Patucci,
Rotary Connection,
Lindisfarne,
Davy DMX,
Lafayette Afro Rock Band,
David Bowie,
The Smiths,
Rakim,
Max Romeo,
The Trojans,
Parry Music,
Donny Hathaway,
48th St. Collective,
Sun Ra Arkestra,
Reuben Wilson,
Lonnie Liston Smith,
T.S.O.L.,
The Invisible,
Ralphi Rosario,
Brand Nubian,
Lyres,
New Age Steppers,
Leonard Cohen,
Ultramagnetic MC's,
The Monochrome Set,
The Alarm Clocks,
Index,
Dave Gahan,
Cecil Taylor,
Freddie Wadling,
Lucky Dragons,
Dead Boys,
The Litter,
DNA, DNA, DNA, DNA.
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.