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 Fiji and from London.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Hong Kong and Hong Kong.
I'm losing my edge to the art-school Jakarta 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 Michael McDonald 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 Tropical Tobacco to the electroclash kids.
I played it at CBGB's.
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 Nik Kershaw. All the underground hits.
All John Lydon tracks. I heard you have a vinyl of every Art Ensemble Of Chicago 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 '70s cut and another box set from the '90s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Golliwogs record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
Pussy Galore,
Suburban Knight,
B.T. Express,
Bob Dylan,
the Bar-Kays,
Ossler,
The Knickerbockers,
Suicide,
Minutemen,
Notorious BIG live in Amsterdam,
a-ha,
Technova,
The United States of America,
Gichy Dan,
Eyeless In Gaza,
DNA,
Josef K,
Sight & Sound,
Cluster,
The Invisible,
Terrestrial Tones,
Thompson Twins,
Barbara Tucker,
Henry Cow,
Tim Buckley,
Pulsallama,
Niagra,
Mary Jane Girls,
Wire,
Aswad,
The Vogues,
The Trojans,
Warren Ellis,
Pete Rock & C.L. Smooth,
Piero Umiliani,
Lightning Bolt,
Metal Thangz,
Symarip,
Bobby Hutcherson,
The Dirtbombs,
Dawn Penn,
Deepchord,
E-Dancer,
D'Angelo,
Neil Young,
Sonny Sharrock,
The New Christs,
Scratch Acid,
JFA,
LL Cool J,
Soft Machine,
The Mummies,
Tubeway Army,
Motorama,
The Tremeloes,
Kango’s Stein Massive,
Rahsaan Roland Kirk,
The Wake,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.