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 Kosovo and from Glasgow.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1970.
I'm losing my edge.
To all the kids in Manila and Milan.
I'm losing my edge to the art-school Columbus 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 snare sounds with much patience.
I was there when Robert Palmer 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 Kerrie Biddell to the rap kids.
I played it at the Roxy.
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 This Heat. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every Sun City Girls 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 '80s cut and another box set from the '90s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a the Fania All-Stars record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Trumans Water,
DNA,
Ten City,
Beasts of Bourbon,
Albert Ayler,
Maleditus Sound,
Eden Ahbez,
the Association,
Oblivians,
Lalann,
The Grass Roots,
Scrapy,
Orchestral Manoeuvres in the Dark,
Fela Kuti,
Quadrant,
The Black Dice,
Qualms,
The Selecter,
Sad Lovers and Giants,
MC5,
Dawn Penn,
Black Sheep,
China Crisis,
Pantaleimon,
Fatback Band,
Gong,
Siouxsie and the Banshees,
48th St. Collective,
The Gories,
Sun Ra Arkestra,
Desert Stars,
Red Lorry Yellow Lorry,
This Heat,
Jesper Dahlbäck,
Section 25,
John Lydon,
A Certain Ratio,
Derrick Morgan,
Sugar Minott,
Sonny Sharrock,
Liaisons Dangereuses,
Masters at Work,
The Index,
Piero Umiliani,
Sonic Youth,
Blossom Toes,
Sunsets and Hearts,
The Remains,
Ultra Naté,
Mad Mike,
Cal Tjader,
Underground Resistance,
X-102,
Echo & the Bunnymen,
Supertramp,
Livin' Joy,
Bobbi Humphrey,
The Neon Judgement,
the Germs,
Alphaville,
The Flesh Eaters,
John Holt,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.