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 Bulgaria and from Salvador.
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 1971.
I'm losing my edge.
To all the kids in Manchester and Copenhagen.
I'm losing my edge to the art-school Manila 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 güiro sounds with much patience.
I was there when Robert Palmer 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 Schoolly D to the electroclash kids.
I played it at the Astoria.
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 Robert Wyatt. All the underground hits.
All Gong tracks. I heard you have a vinyl of every Sad Lovers and Giants record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Rod Modell 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?
Gang Starr,
Adolescents,
Black Sheep,
The Slackers,
Pussy Galore,
Richard Hell and the Voidoids,
The Monochrome Set,
Yusef Lateef,
Don Cherry,
Radio Birdman,
Kool Moe Dee,
Pulsallama,
Tears for Fears,
Loose Ends,
Kevin Saunderson,
Unwound,
Pantytec,
London Community Gospel Choir,
Mantronix,
Man Eating Sloth,
The Modern Lovers,
Sonny Sharrock,
Vainqueur,
Marvin Gaye,
Model 500,
The Divine Comedy,
The Star Department,
EPMD,
Mandrill,
the Slits,
Max Romeo,
The Invisible,
Todd Rundgren,
Red Lorry Yellow Lorry,
Infiniti,
Arthur Verocai,
Rhythim Is Rhythim,
Sound Behaviour,
Dr. Dre and Snoop Doggy Dog,
Brass Construction,
Pet Shop Boys,
Barbara Tucker,
Tubeway Army,
Agent Orange,
The Offenders,
John Coltrane,
Nick Cave & The Bad Seeds,
The Smiths,
Sarah Menescal,
Bizarre Inc.,
New Age Steppers,
The Pretty Things,
Wings,
Terror Squad Feat. Camron,
Zero Boys,
The Evens,
These Immortal Souls,
F. McDonald,
Quando Quango,
Bad Manners,
Rhythm & Sound,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.