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 Serbia and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1977.
I'm losing my edge.
To all the kids in Johannesburg and Hong Kong.
I'm losing my edge to the art-school Tehran 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 808 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 kango's stein massive to the jazz kids.
I played it at the Crocodile.
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 Graham Central Station. All the underground hits.
All Television Personalities tracks. I heard you have a vinyl of every ABC 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 '50s cut and another box set from the '90s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Hutcherson record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
L. Decosne,
Grey Daturas,
Y Pants,
The Dead C,
In Retrospect,
Unrelated Segments,
Crime,
Jesper Dahlbäck,
Marcia Griffiths,
T. Rex,
Dark Day,
Bush Tetras,
Todd Rundgren,
Robert Wyatt,
Justin Hinds & The Dominoes,
Jawbox,
Agitation Free,
Drive Like Jehu,
Brass Construction,
Oppenheimer Analysis,
Peter Gordon & Love of Life Orchestra,
Anthony Braxton,
A Certain Ratio,
Gregory Isaacs,
Graham Central Station,
Ken Boothe,
Delta 5,
June of 44,
Dead Boys,
Funky Four + One,
kango's stein massive,
Make Up,
World's Most,
Reagan Youth,
Schoolly D,
Kings Of Tomorrow,
Cameo,
Deutsch Amerikanische Freundschaft,
June Days,
48th St. Collective,
Sex Pistols,
Clear Light,
Carl Craig,
The Monochrome Set,
David Bowie,
New York Dolls,
Sun City Girls,
Boredoms,
Monolake,
Soul II Soul,
The Trojans,
MDC,
Johnny Clarke,
Pet Shop Boys,
Sight & Sound,
Dennis Brown,
The Fuzztones,
Vaughan Mason & Crew,
The Jesus and Mary Chain,
Nas,
Aswad, Aswad, Aswad, Aswad.
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.