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 Tuvalu and from Spokane.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Bremen and Tehran.
I'm losing my edge to the art-school Johannesburg 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 güiro 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 Boredoms to the disco 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 Traffic Nightmare. All the underground hits.
All Accadde A tracks. I heard you have a vinyl of every Grandmaster Flash record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Banda Bassotti,
Stereo Dub,
The Dirtbombs,
Eurythmics,
The Offenders,
Kas Product,
Ice-T,
Jesper Dahlback,
Arthur Verocai,
Newcleus,
Dave Gahan,
Cecil Taylor,
Wire,
Blossom Toes,
Quantec,
Notorious Big And Bone Thugs,
Jandek,
Yellowson,
Black Bananas,
L. Decosne,
Lightning Bolt,
The Cowsills,
The Sisters of Mercy,
Pantytec,
Joey Negro,
Lower 48,
The Flesh Eaters,
Archie Shepp,
Pharaoh Sanders and the Fire Engines,
Animal Collective,
Skaos,
cv313,
The Mummies,
Nik Kershaw,
Tommy Roe,
Gil Scott-Heron & Brian Jackson,
Monks,
Joe Finger,
Camouflage,
The Stooges,
Spandau Ballet,
Cybotron,
Tubeway Army,
The Young Rascals,
Sugar Minott,
These Immortal Souls,
The Slits,
Terror Squad Feat. Camron,
World's Most,
The Star Department,
Kool G Rap & DJ Polo,
The Mighty Diamonds,
Technova,
Youth Brigade,
Marvin Gaye,
The Kinks,
Selector Dub Narcotic,
Basic Channel,
Fort Wilson Riot,
Electric Prunes,
Byron Stingily,
Ohio Players,
FM Einheit,
The Gories,
Justin Hinds & The Dominoes, Justin Hinds & The Dominoes, Justin Hinds & The Dominoes, Justin Hinds & The Dominoes.
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.