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 Belarus and from Houston.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Bremen and Philadelphia.
I'm losing my edge to the art-school Manchester 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the güiro sounds with much patience.
I was there when Donald Fagen 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 Nick Fraelich to the grime 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 China Crisis. All the underground hits.
All Grandmaster Flash tracks. I heard you have a vinyl of every Second Layer record on German import.
I heard that you have a white label of every seminal dance 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 synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Mighty Diamonds record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magma,
Traffic Nightmare,
Glambeats Corp.,
Eric Dolphy,
Maleditus Sound,
Patti Smith,
Urselle,
The Detroit Cobras,
Jawbox,
David McCallum,
The Mojo Men,
Magazine,
Chrome,
Second Layer,
Japan,
Sexual Harrassment,
Robert Görl,
Anthony Braxton,
Davy DMX,
Negative Approach,
Justin Hinds & The Dominoes,
Moby Grape,
Marvin Gaye,
Funky Four + One,
Skriet,
Gil Scott-Heron and Jamie xx,
Gil Scott Heron,
Thee Headcoats,
Eric B and Rakim,
Rapeman,
Beasts of Bourbon,
Marshall Jefferson,
Mark Hollis,
Sarah Menescal,
The Sisters of Mercy,
Black Flag,
Lalo Schifrin,
Mr. Review,
Trumans Water,
The Trojans,
Nico,
Althea and Donna,
The Black Dice,
Al Stewart,
Cymande,
Josef K,
Half Japanese,
Tim Buckley,
Lakeside,
Suburban Knight,
Juan Atkins,
Joensuu 1685,
David Axelrod,
Pussy Galore,
The Monochrome Set,
The Slits,
Gil Scott-Heron & Brian Jackson,
Sad Lovers and Giants,
Alison Limerick,
Das Ding,
The Saints,
Scrapy,
Buzzcocks, Buzzcocks, Buzzcocks, Buzzcocks.
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.