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 Peru and from Lyon.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Lille and Johannesburg.
I'm losing my edge to the art-school Mumbai 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 rhodes 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 Japan to the grime kids.
I played it at the Troubador.
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 Oneida. All the underground hits.
All John Lydon tracks. I heard you have a vinyl of every Crash Course in Science 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 '70s.
I hear you're buying a rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Selecter,
The Royal Family And The Poor,
Blancmange,
The Pop Group,
Bill Wells,
Prince Buster,
The Electric Prunes,
The Peanut Butter Conspiracy,
Adolescents,
Interpol,
Josef K,
John Foxx,
Qualms,
Wings,
The J.B.'s,
The Residents,
The Buckinghams,
The Dave Clark Five,
Sight & Sound,
Ronnie Foster,
Sad Lovers and Giants,
Chris Corsano,
The Flesh Eaters,
Brick,
Glenn Branca,
Nas,
Fat Boys,
Pharaoh Sanders and the Fire Engines,
The Slits,
H. Thieme,
La Düsseldorf,
Parry Music,
Niagra,
The Cosmic Jokers,
Alice Coltrane,
Trumans Water,
Stetsasonic,
ABBA,
John Holt,
Strawberry Alarm Clock,
LL Cool J,
Matthew Bourne,
Section 25,
Quantec,
Easy Going,
Derrick May,
Laurel Aitken,
Theoretical Girls,
The Mummies,
Red Lorry Yellow Lorry,
Soulsonic Force,
The Index,
Eyeless In Gaza,
Mission of Burma,
Soft Cell,
Davy DMX,
Gary Puckett & The Union Gap,
Joyce Sims,
Colin Newman,
Public Enemy,
Los Fastidios,
The Golliwogs,
OOIOO,
Fear, Fear, Fear, Fear.
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.