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 Lebanon and from Columbus.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1967 to 1978.
I'm losing my edge.
To all the kids in New York and Lyon.
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 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 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 Harry Pussy 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 Cymande. All the underground hits.
All The Moody Blues tracks. I heard you have a vinyl of every Adolescents 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 '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Oblivians record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DNA,
Sight & Sound,
Jacob Miller,
Jesper Dahlback,
Severed Heads,
The Peanut Butter Conspiracy,
The Remains,
Pete Rock & C.L. Smooth,
Lightning Bolt,
Yusef Lateef,
MDC,
Todd Rundgren,
Shoche,
Super Lover Cee & Casanova Rud,
R.M.O.,
The Sonics,
The Dead C,
The Mighty Diamonds,
The Techniques,
Chris & Cosey,
The Beau Brummels,
Country Teasers,
the Normal,
John Foxx,
Bill Near,
Ash Ra Tempel,
Bobby Hutcherson,
Radio Birdman,
The Mummies,
Fela Kuti,
Morten Harket,
Ten City,
Funky Four + One,
Chrome,
Gil Scott-Heron & Brian Jackson,
Absolute Body Control,
Animal Collective,
Gang Gang Dance,
The Jesus and Mary Chain,
Roy Ayers Ubiquity,
K-Klass,
The Slits,
Panda Bear,
Supertramp,
Cecil Taylor,
Roxy Music,
Y Pants,
Frankie Knuckles,
Tres Demented,
Susan Cadogan,
Sad Lovers and Giants,
Hashim,
Deakin,
James Chance & The Contortions,
Spoonie Gee,
The Names,
The Cure,
Depeche Mode,
La Düsseldorf, La Düsseldorf, La Düsseldorf, La Düsseldorf.
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.