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 Thailand and from Milan.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Salvador and Lyon.
I'm losing my edge to the art-school Lagos 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 sitar sounds with much patience.
I was there when Nile Rodgers 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 Dawn Penn to the funk kids.
I played it at the 40 Watt.
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 June Days. All the underground hits.
All Pharaoh Sanders and the Fire Engines tracks. I heard you have a vinyl of every Popol Vuh 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 '90s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deepchord,
Graham Central Station,
F. McDonald,
Nirvana,
Tubeway Army,
The Toasters,
Be Bop Deluxe,
Robert Görl,
X-102,
the Sonics,
Drexciya,
Minor Threat,
Brass Construction,
Marshall Jefferson,
Derrick Morgan,
Fad Gadget,
Nils Olav,
Kool G Rap & DJ Polo,
David Axelrod,
Shoche,
Q65,
The Electric Prunes,
Fear,
Gastr Del Sol,
London Community Gospel Choir,
Marvin Gaye,
The Star Department,
Lungfish,
Dorothy Ashby,
Marc Romboy vs. Booka Shade,
Kauko Röyhkä ja Narttu,
Steve Hackett,
The Seeds,
PIL,
Livin' Joy,
Harry Pussy,
Sällskapet,
Make Up,
Ultravox,
Bobbi Humphrey,
Rosa Yemen,
T.S.O.L.,
The Zeros,
David Bowie,
Tom Boy,
Eyeless In Gaza,
Roxette,
Flamin' Groovies,
Angels of Light & Akron/Family,
Thee Headcoats,
Roy Ayers Ubiquity,
The Cramps,
Lizzy Mercier Descloux,
Pharoah Sanders,
Sight & Sound,
James White and The Blacks,
The Skatalites,
Brick,
Sun City Girls, Sun City Girls, Sun City Girls, Sun City Girls.
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.