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 Beijing.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Lagos.
I'm losing my edge to the art-school Tehran 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 Prince Buster to the jazz kids.
I played it at CBGB's.
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 Happenings. All the underground hits.
All Skarface tracks. I heard you have a vinyl of every Derrick Morgan record on German import.
I heard that you have a white label of every seminal jazz 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 clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Severed Heads record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Dark Day,
Max Romeo,
Davy DMX,
Lonnie Liston Smith,
Quadrant,
the Soft Cell,
Mary Jane Girls,
Country Teasers,
The Moleskins,
Bootsy Collins,
Pet Shop Boys,
Man Parrish,
Fad Gadget,
The Saints,
Fifty Foot Hose,
Index,
Tubeway Army,
Bobbi Humphrey,
Reagan Youth,
Kerrie Biddell,
Pantaleimon,
Avey Tare,
Quando Quango,
Public Enemy,
Television Personalities,
Warren Ellis,
Siglo XX,
Shoche,
John Lydon,
Michelle Simonal,
Fluxion,
Deakin,
Kenny Larkin,
Althea and Donna,
Notorious Big And Bone Thugs,
Nick Cave & The Bad Seeds,
Can,
La Düsseldorf,
Niagra,
Gong,
Franke,
Ultramagnetic MC's,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Ten City,
Gabor Szabo,
a-ha,
Gang Green,
Charles Mingus,
Sight & Sound,
The Music Machine,
Gian Franco Pienzio,
Rotary Connection,
Reuben Wilson,
Kurtis Blow,
T.S.O.L.,
Ajijia Myrayebe,
Lebanon Hanover,
Jeff Lynne,
The Associates,
Wire,
8 Eyed Spy,
Subhumans, Subhumans, Subhumans, Subhumans.
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.