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 Portugal and from Sao Paulo.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1964 to 1970.
I'm losing my edge.
To all the kids in Bologna and Beijing.
I'm losing my edge to the art-school Milan 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 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 The Slackers 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 Lalo Schifrin. All the underground hits.
All Inner City tracks. I heard you have a vinyl of every Nils Olav record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & John Cale,
Deadbeat,
The Neon Judgement,
Porter Ricks,
Duran Duran,
Janne Schatter,
Glenn Branca,
Siouxsie and the Banshees,
Simply Red,
John Coltrane,
Boogie Down Productions,
Cameo,
Smog,
Carl Craig,
Franke,
Arab on Radar,
The Dead C,
The Raincoats,
Oppenheimer Analysis,
In Retrospect,
Television,
Pharoah Sanders,
Piero Umiliani,
Eric Dolphy,
Roy Ayers Ubiquity,
Roy Ayers,
James Chance & The Contortions,
Lower 48,
The Black Dice,
The Busters,
Scott Walker + Sunn O))),
Ludus,
Tom Boy,
Eden Ahbez,
Parry Music,
Crispian St. Peters,
Delon & Dalcan,
Pantaleimon,
Larry & the Blue Notes,
Marmalade,
Con Funk Shun,
Sticky Fingaz feat. Raekwon,
Joe Finger,
Lou Reed,
Thompson Twins,
Ultimate Spinach,
Archie Shepp,
Malaria!,
Mad Mike,
Harry Pussy,
Pole,
CMW,
Patti Smith,
The Dirtbombs,
David McCallum,
Derrick Morgan,
Idris Muhammad,
Lee Hazlewood,
Soft Cell,
Kings Of Tomorrow,
The Toasters,
Oneida, Oneida, Oneida, Oneida.
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.