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 Tajikistan and from Bremen.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Salvador and Paris.
I'm losing my edge to the art-school Bologna 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 marimba 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 Juan Atkins to the disco 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 Sonny Sharrock. All the underground hits.
All the Swans tracks. I heard you have a vinyl of every The Stooges 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 '60s cut and another box set from the '70s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Kerri Chandler record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
Joe Smooth,
48th St. Collective,
Malaria!,
Nik Kershaw,
Jandek,
La Düsseldorf,
JFA,
Rahsaan Roland Kirk,
Barbara Tucker,
The Royal Family And The Poor,
Cluster,
The Music Machine,
Can,
Peter Gordon & Love of Life Orchestra,
Japan,
Symarip,
James Chance & The Contortions,
Fifty Foot Hose,
Visionaries,LMNO, T- Love & Iriscience,
Bootsy Collins,
B.T. Express,
David Axelrod,
Marmalade,
Danielle Patucci,
Charles Mingus,
Rites of Spring,
MC5,
Grauzone,
Ronan,
Robert Görl,
The Angels of Light,
Bluetip,
Rapeman,
The Sound,
Bobby Hutcherson,
Crash Course in Science,
Lucky Dragons,
Rekid,
Kauko Röyhkä ja Narttu,
Don Cherry,
Quando Quango,
Ralphi Rosario,
Urselle,
Sällskapet,
Strawberry Alarm Clock,
The Wake,
Henry Cow,
It's A Beautiful Day,
Al Stewart,
Desert Stars,
Half Japanese,
FM Einheit,
Barrington Levy,
Bronski Beat,
New Age Steppers,
Mission of Burma,
Pharoah Sanders,
E-Dancer,
Ice-T,
The Remains,
The Zeros,
Howard Jones,
Parry Music,
Bauhaus, Bauhaus, Bauhaus, Bauhaus.
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.