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 Madagascar and from Lille.
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 1979.
I'm losing my edge.
To all the kids in Milan and Bologna.
I'm losing my edge to the art-school Beijing 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the oboe sounds with much patience.
I was there when David Bowie 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 Hot Snakes to the crunk kids.
I played it at Cafe Wha.
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 Nas. All the underground hits.
All The Last Poets tracks. I heard you have a vinyl of every Sight & Sound record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brick,
Ultra Naté,
The Star Department,
Eden Ahbez,
The Busters,
DeepChord presents Echospace,
Lizzy Mercier Descloux,
Letta Mbulu,
the Sonics,
Popol Vuh,
Brand Nubian,
Tim Buckley,
Charles Mingus,
Drexciya,
Avey Tare,
Animal Collective,
Donny Hathaway,
Accadde A,
Skarface,
the Swans,
Suburban Knight,
It's A Beautiful Day,
Dorothy Ashby,
Eurythmics,
Slave,
Bush Tetras,
Pharoah Sanders,
Magma,
Das Ding,
Amazonics,
F. McDonald,
Glambeats Corp.,
Scratch Acid,
Wally Richardson,
Pulsallama,
Roxy Music,
Chrome,
Red Lorry Yellow Lorry,
Throbbing Gristle,
The Angels of Light,
Scion,
The Cure,
Marcia Griffiths,
Flash Fearless,
Technova,
David McCallum,
Sly & The Family Stone,
Dennis Brown,
The Jesus and Mary Chain,
The Gladiators,
Rowland S Howard / Lydia Lunch,
Joensuu 1685,
Fela Kuti,
Tropical Tobacco,
Rod Modell,
The Trojans,
Japan,
Junior Murvin,
Unwound,
Crispy Ambulance,
Dead Boys,
New York Dolls, New York Dolls, New York Dolls, New York Dolls.
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.