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 South Africa and from Edmonton.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 Johannesburg and Seoul.
I'm losing my edge to the art-school Halifax 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the guitar sounds with much patience.
I was there when Lou Reed 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 Notorious BIG live in Amsterdam to the crunk kids.
I played it at the Hacienda.
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 Half Japanese. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every Von Mondo record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your theremin and bought a snare.
I hear that you and your band have sold your snare and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swell Maps,
Joey Negro,
Avey Tare & Kría Brekkan,
Junior Murvin,
Louis and Bebe Barron,
Japan,
The Durutti Column,
Bronski Beat,
Eli Mardock,
Aural Exciters,
Aloha Tigers,
Silicon Teens,
Black Sheep,
Delon & Dalcan,
Soul II Soul,
Albert Ayler,
Eden Ahbez,
New Age Steppers,
Bobby Sherman,
Sly & The Family Stone,
The Cure,
Suicide,
The Count Five,
Captain Beefheart & His Magic Band,
The Motions,
Fugazi,
Lucky Dragons,
Pulsallama,
Mission of Burma,
Ice-T,
Scan 7,
The Techniques,
The West Coast Pop Art Experimental Band,
R.M.O.,
Nas,
The Modern Lovers,
Arcadia,
Harmonia,
Barclay James Harvest,
Ronnie Foster,
The Skatalites,
Mandrill,
Hardrive,
The Shadows of Knight,
The Doobie Brothers,
New York Dolls,
The Litter,
Morten Harket,
Boogie Down Productions,
The Wake,
The Moody Blues,
Gil Scott-Heron & Brian Jackson,
Magazine,
Bad Manners,
Ken Boothe,
The Men They Couldn't Hang,
Rhythim Is Rhythim,
Oblivians,
Joe Smooth,
Tom Boy,
X-Ray Spex,
Q65, Q65, Q65, Q65.
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.