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 Libya and from Mexico City.
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 1976.
I'm losing my edge.
To all the kids in Copenhagen and Bremen.
I'm losing my edge to the art-school Columbus 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 chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Fugazi to the dance kids.
I played it at the Crocodile.
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 New York Dolls. All the underground hits.
All Camberwell Now tracks. I heard you have a vinyl of every Terry Callier 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 '70s cut and another box set from the '70s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Delon & Dalcan record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ajijia Myrayebe,
The Names,
Orchestral Manoeuvres in the Dark,
Dark Day,
Bobby Sherman,
Flash Fearless,
Avey Tare & Kría Brekkan,
Grey Daturas,
Masters at Work,
Crispian St. Peters,
Sun Ra Arkestra,
Lindisfarne,
Bill Wells,
DJ Style,
Pete Rock & C.L. Smooth,
Anthony Braxton,
Fad Gadget,
The Alarm Clocks,
Marcia Griffiths,
Rekid,
Flamin' Groovies,
Marshall Jefferson,
The Fugs,
Qualms,
Crash Course in Science,
T. Rex,
Andrew Hill,
Brass Construction,
The Count Five,
Henry Cow,
Glambeats Corp.,
Brick,
Fugazi,
Wire,
Massinfluence,
Kerrie Biddell,
The Move,
ABC,
Supertramp,
The Selecter,
Easy Going,
The Tremeloes,
Notorious BIG live in Amsterdam,
Amon Düül,
The Chocolate Watch Band,
Symarip,
Sugar Minott,
Shuggie Otis,
Laurel Aitken,
Alton Ellis,
Rotary Connection,
Pharaoh Sanders and the Fire Engines,
Lalo Schifrin,
The Monks,
The Men They Couldn't Hang,
Newcleus,
Skaos,
OOIOO,
Davy DMX,
Index,
Gil Scott-Heron and Jamie xx,
Wings,
Warren Ellis,
Essential Logic, Essential Logic, Essential Logic, Essential Logic.
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.