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 Zimbabwe and from Houston.
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 1968 to 1973.
I'm losing my edge.
To all the kids in London and Milan.
I'm losing my edge to the art-school Salvador 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the snare sounds with much patience.
I was there when Holger Czukay 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 Victims to the electroclash kids.
I played it at the Troubador.
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 The Victims. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every Heaven 17 record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Fifty Foot Hose record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MC5,
Inner City,
A Certain Ratio,
Los Fastidios,
The Flesh Eaters,
Hardrive,
The Divine Comedy,
John Holt,
Pylon,
48th St. Collective,
The Last Poets,
Rites of Spring,
Fatback Band,
John Coltrane,
Second Layer,
Grandmaster Flash,
Grey Daturas,
Lungfish,
The Names,
Whodini,
Excepter,
Terror Squad Feat. Camron,
Jerry's Kids,
The Evens,
UT,
Pete Rock & C.L. Smooth,
Mandrill,
The Monochrome Set,
Man Eating Sloth,
Thee Headcoats,
Alphaville,
Hasil Adkins,
The Zeros,
Black Moon,
The Blues Magoos,
Siglo XX,
Masters at Work,
De La Soul & Jungle Brothers,
Fort Wilson Riot,
Derrick Morgan,
Saccharine Trust,
The Human League,
London Community Gospel Choir,
Slave,
the Fania All-Stars,
Grandmaster Flash and the Furious Five,
Funkadelic,
The Real Kids,
Sandy B,
Jesper Dahlbäck,
the Soft Cell,
Massinfluence,
Sunsets and Hearts,
Captain Beefheart & His Magic Band,
The Kinks,
DeepChord presents Echospace,
Echo & the Bunnymen,
The Blackbyrds,
Buzzcocks,
Skarface,
Red Lorry Yellow Lorry,
The Monks, The Monks, The Monks, The Monks.
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.