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 Romania and from Paris.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1975.
I'm losing my edge.
To all the kids in Manila and Houston.
I'm losing my edge to the art-school Houston 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 sitar sounds with much patience.
I was there when Nile Rodgers 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 Gil Scott-Heron & Brian Jackson to the crunk kids.
I played it at the Hacienda.
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 Fat Boys. All the underground hits.
All Little Man tracks. I heard you have a vinyl of every L. Decosne record on German import.
I heard that you have a white label of every seminal dance 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 güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Althea and Donna,
Donald Byrd,
Ornette Coleman,
The Tremeloes,
Suicide,
Bizarre Inc.,
Roxy Music,
Jawbox,
Gian Franco Pienzio,
Pole,
Bootsy's Rubber Band,
Unwound,
Barbara Tucker,
Audionom,
T. Rex,
Rapeman,
Pagans,
The Toasters,
The Golliwogs,
Bootsy Collins,
Quadrant,
Clear Light,
Big Daddy Kane,
The American Breed,
The Dave Clark Five,
Visionaries,LMNO, T- Love & Iriscience,
Slave,
The Misunderstood,
Be Bop Deluxe,
X-Ray Spex,
Graham Central Station,
Nirvana,
The Peanut Butter Conspiracy,
Glenn Branca,
Minutemen,
The Residents,
Kerrie Biddell,
Ajijia Myrayebe,
The Neon Judgement,
Radio Birdman,
Dorothy Ashby,
The Cosmic Jokers,
Inner City,
Captain Beefheart & His Magic Band,
Mark Hollis,
Strawberry Alarm Clock,
Pharaoh Sanders and the Fire Engines,
Echo & the Bunnymen,
Kings Of Tomorrow,
Sunsets and Hearts,
Banda Bassotti,
Godley & Creme,
Reuben Wilson,
Bush Tetras,
Severed Heads,
Andrew Hill,
Röyhkä ja Rättö ja Lehtisalo,
Tomorrow,
The Jesus and Mary Chain,
Gregory Isaacs, Gregory Isaacs, Gregory Isaacs, Gregory Isaacs.
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.