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 Czech Republic and from Portland.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Shanghai and Madrid.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the oboe 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 Brick to the jazz 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 Dennis Brown. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every Gil Scott Heron record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Pole record.
I hear that you and your band have sold your sitar and bought a guitar.
I hear that you and your band have sold your guitar and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Make Up,
The Vogues,
Jesper Dahlbäck,
Kurtis Blow,
Strawberry Alarm Clock,
Peter and Kerry,
Mad Mike,
Justin Hinds & The Dominoes,
Banda Bassotti,
Grandmaster Flash,
Zero Boys,
The Electric Prunes,
X-102,
Alison Limerick,
R.M.O.,
Bootsy Collins,
Mars,
The Music Machine,
Camberwell Now,
Television,
Eurythmics,
Nas,
OOIOO,
Jesper Dahlback,
Pylon,
Porter Ricks,
Warsaw,
Crispian St. Peters,
Brick,
Delon & Dalcan,
Royal Trux,
The Mojo Men,
The Dead C,
Au Pairs,
Siglo XX,
Tropical Tobacco,
Harry Pussy,
Unwound,
Hardrive,
Idris Muhammad,
Todd Rundgren,
Sun Ra,
Second Layer,
The Doobie Brothers,
Teenage Jesus and the Jerks,
Suburban Knight,
Gil Scott Heron,
Gil Scott-Heron and Jamie xx,
PIL,
Neil Young,
Johnny Clarke,
Selector Dub Narcotic,
the Fania All-Stars,
The Blues Magoos,
Sarah Menescal,
Ponytail,
New Order,
Gian Franco Pienzio,
the Swans,
David McCallum,
Inner City,
Flamin' Groovies, Flamin' Groovies, Flamin' Groovies, Flamin' Groovies.
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.