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 Kuwait and from Delhi.
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 Johannesburg and Tehran.
I'm losing my edge to the art-school Madrid 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 1973 at the first Television practice in a loft in New York.
I was working on the rhodes sounds with much patience.
I was there when Tom Verlaine 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 Archie Shepp to the jazz kids.
I played it at the Crocodile.
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 Marine Girls. All the underground hits.
All Maleditus Sound tracks. I heard you have a vinyl of every The Smoke record on German import.
I heard that you have a white label of every seminal rock 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 synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
London Community Gospel Choir,
Model 500,
Audionom,
Althea and Donna,
One Last Wish,
This Heat,
Soft Cell,
DJ Style,
The Fire Engines,
The Fortunes,
Suburban Knight,
Soul II Soul,
The Doors,
Television Personalities,
Yusef Lateef,
Bizarre Inc.,
Public Enemy,
Mad Mike,
Sonny Sharrock,
Cybotron,
Sound Behaviour,
Amon Düül II,
Gang of Four,
Hasil Adkins,
Morten Harket,
Todd Rundgren,
B.T. Express,
Roy Ayers,
Jawbox,
Anthony Braxton,
Hardrive,
The Modern Lovers,
Dead Boys,
Notorious Big And Bone Thugs,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
John Foxx,
The Move,
Scott Walker,
The Durutti Column,
Max Romeo,
The Victims,
Howard Jones,
Lou Reed & Metallica,
Blancmange,
Con Funk Shun,
Darondo,
Motorama,
Marvin Gaye,
James Chance & The Contortions,
Thinking Fellers Union Local 282,
The Litter,
Suicide,
Rhythm & Sound,
Massinfluence,
Adolescents,
Grandmaster Flash and the Furious Five,
The New Christs,
Minny Pops,
Can,
the Human League,
Mary Jane Girls,
Agitation Free, Agitation Free, Agitation Free, Agitation Free.
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.