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 Benin and from Houston.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1975.
I'm losing my edge.
To all the kids in Halifax and Manchester.
I'm losing my edge to the art-school Jakarta 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the clarinet sounds with much patience.
I was there when David Bowie 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 Niagra to the techno kids.
I played it at the Spitz.
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 Birthday Party. All the underground hits.
All Excepter tracks. I heard you have a vinyl of every Rhythim Is Rhythim 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 '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nils Olav,
Bad Manners,
Hot Snakes,
Mandrill,
Harry Pussy,
The Gap Band,
Bush Tetras,
Japan,
Rekid,
Sound Behaviour,
Frankie Knuckles,
Alton Ellis,
Nirvana,
Scott Walker,
X-Ray Spex,
Angels of Light & Akron/Family,
Roy Ayers Ubiquity,
The Standells,
Moss Icon,
Inner City,
London Community Gospel Choir,
Boogie Down Productions,
DeepChord presents Echospace,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Human League,
Minor Threat,
Guru Guru,
The Dead C,
Pharoah Sanders,
The Count Five,
Kerri Chandler,
The Shadows of Knight,
Ralphi Rosario,
Lee Hazlewood,
Sugar Minott,
Black Pus,
Main Source,
The Misunderstood,
Wire,
E-Dancer,
Masters at Work,
Henry Cow,
Bang on a Can All-Stars,
Pussy Galore,
Be Bop Deluxe,
MC5,
The Buckinghams,
Bootsy's Rubber Band,
Barry Ungar,
The Gun Club,
Schoolly D,
Dave Gahan,
The Pretty Things,
The Leaves,
Sex Pistols,
EPMD,
Sandy B,
Gil Scott-Heron and Jamie xx,
Big Daddy Kane,
Thee Headcoats,
The United States of America,
DNA, DNA, DNA, DNA.
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.