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 Mauritius and from Sao Paulo.
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 1974.
I'm losing my edge.
To all the kids in Accra and Portland.
I'm losing my edge to the art-school Winnipeg 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 1976 at the first Wire practice in a loft in Watford.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 Scratch Acid to the grime 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 Soul II Soul. All the underground hits.
All Underground Resistance tracks. I heard you have a vinyl of every Neil Young & Crazy Horse record on German import.
I heard that you have a white label of every seminal punk 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 chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Sexual Harrassment record.
I hear that you and your band have sold your marimba and bought a güiro.
I hear that you and your band have sold your güiro and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funkadelic,
Monolake,
The Offenders,
Cluster,
The Mojo Men,
Pylon,
Soul II Soul,
Gang Starr,
Depeche Mode,
Nas,
Cabaret Voltaire,
Kerri Chandler,
Supertramp,
Bobby Womack,
Chris Corsano,
Jacob Miller,
Kool G Rap & DJ Polo,
DJ Style,
Cheater Slicks,
Swans,
Accadde A,
Lightning Bolt,
Visionaries,LMNO, T- Love & Iriscience,
Johnny Osbourne,
Marc Romboy vs. Booka Shade,
Marc Almond,
Lyres,
Cymande,
Juan Atkins,
The Flesh Eaters,
Rosa Yemen,
Lucky Dragons,
Porter Ricks,
Robert Görl,
Maleditus Sound,
Mantronix,
Jacques Brel,
Index,
The Last Poets,
Marvin Gaye,
Adolescents,
Skriet,
Shoche,
Peter & Gordon,
Nik Kershaw,
Roy Ayers,
Camberwell Now,
Procol Harum,
Donald Byrd,
Royal Trux,
The Selecter,
Radiopuhelimet,
Roy Ayers Ubiquity,
Brand Nubian,
John Coltrane,
Radiohead,
Kaleidoscope,
Toni Rubio,
Peter and Kerry,
Flipper,
Minor Threat,
The Tremeloes,
The Grass Roots,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
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.