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 St Lucia and from Manchester.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Delhi.
I'm losing my edge to the art-school Manila 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 linndrum 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 Desert Stars to the crunk kids.
I played it at Trash.
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 The Monochrome Set. All the underground hits.
All Johnny Clarke tracks. I heard you have a vinyl of every T. Rex record on German import.
I heard that you have a white label of every seminal electroclash 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 linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Shuggie Otis record.
I hear that you and your band have sold your theremin and bought a güiro.
I hear that you and your band have sold your güiro and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bizarre Inc.,
Notorious BIG live in Amsterdam,
Johnny Clarke,
Ultimate Spinach,
DeepChord presents Echospace,
Big Daddy Kane,
Grauzone,
The Mighty Diamonds,
Chrome,
Traffic Nightmare,
Röyhkä ja Rättö ja Lehtisalo,
Thee Headcoats,
Audionom,
Masters at Work,
Howard Jones,
Monolake,
Mars,
Vladislav Delay,
Idris Muhammad,
Soulsonic Force,
Kauko Röyhkä ja Narttu,
Eddi Front,
Michelle Simonal,
Crime,
A Flock of Seagulls,
The Skatalites,
The Selecter,
Marmalade,
Harpers Bizarre,
The Dirtbombs,
Procol Harum,
The Peanut Butter Conspiracy,
Patti Smith,
Charles Mingus,
Spoonie Gee,
Ken Boothe,
Depeche Mode,
Susan Cadogan,
This Heat,
Black Bananas,
Tommy Roe,
Rites of Spring,
Simply Red,
The Searchers,
James Chance & The Contortions,
Intrusion,
T. Rex,
Infiniti,
Maleditus Sound,
Gil Scott-Heron and Jamie xx,
Alice Coltrane,
Josef K,
London Community Gospel Choir,
Jeru the Damaja,
Underground Resistance,
Metal Thangz,
Soul Sonic Force,
Sex Pistols,
The Vogues,
The Last Poets,
Skarface,
Pet Shop Boys,
Dorothy Ashby,
KRS-One,
Oblivians, Oblivians, Oblivians, Oblivians.
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.