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 Malawi and from Tehran.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Tokyo.
I'm losing my edge to the art-school Cairo 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the güiro sounds with much patience.
I was there when Captain Beefheart 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 Brothers Johnson to the electroclash 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 The Smiths. All the underground hits.
All The Mighty Diamonds tracks. I heard you have a vinyl of every Urselle 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 '80s cut and another box set from the '70s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Subhumans record.
I hear that you and your band have sold your organ and bought a marimba.
I hear that you and your band have sold your marimba and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
Mantronix,
Roxette,
Orchestral Manoeuvres in the Dark,
a-ha,
Lizzy Mercier Descloux,
Gichy Dan,
Boogie Down Productions,
Drive Like Jehu,
Johnny Clarke,
Blossom Toes,
Heavy D & The Boyz,
Bootsy Collins,
Bill Wells,
Aural Exciters,
Scrapy,
Lebanon Hanover,
Kas Product,
Teenage Jesus and the Jerks,
L. Decosne,
Franke,
Rod Modell,
Stiv Bators,
Banda Bassotti,
Röyhkä ja Rättö ja Lehtisalo,
Lou Christie,
Byron Stingily,
The Names,
Sandy B,
The Cramps,
Pagans,
Sparks,
OOIOO,
Man Eating Sloth,
ABC,
Magazine,
Howard Jones,
Ornette Coleman,
The Blackbyrds,
the Germs,
The Saints,
Moss Icon,
The Modern Lovers,
Gang Gang Dance,
Rekid,
Pole,
Tommy Roe,
Man Parrish,
The Dave Clark Five,
Fifty Foot Hose,
Gary Puckett & The Union Gap,
Theoretical Girls,
Joey Negro,
Desert Stars,
The Slits,
Bootsy's Rubber Band,
DJ Sneak,
Zero Boys,
Arthur Verocai,
Carl Craig,
Livin' Joy,
Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx.
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.