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 Canada and from Seoul.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Mumbai.
I'm losing my edge to the art-school Mexico City 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 clarinet sounds with much patience.
I was there when Lou Reed 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 Subhumans to the electroclash kids.
I played it at the Troubador.
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 The Barracudas. All the underground hits.
All Wire tracks. I heard you have a vinyl of every Robert Wyatt 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 '80s.
I hear you're buying a rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Inner City record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quadrant,
Easy Going,
Mars,
Das Ding,
Schoolly D,
Art Ensemble Of Chicago,
Flipper,
The Monks,
Swans,
T.S.O.L.,
The Shadows of Knight,
Marvin Gaye,
Faraquet,
Pete Rock & C.L. Smooth,
Brass Construction,
This Heat,
Fifty Foot Hose,
Model 500,
Fad Gadget,
Erykah Badu,
Patti Smith,
UT,
Yellowson,
Henry Cow,
PIL,
The Divine Comedy,
Black Sheep,
Y Pants,
Terrestrial Tones,
Graham Central Station,
Ornette Coleman,
Judy Mowatt,
The Moody Blues,
R.M.O.,
The Jesus and Mary Chain,
Rod Modell,
Soft Machine,
Fear,
Tomorrow,
Charles Mingus,
Sugar Minott,
the Fania All-Stars,
Gang of Four,
Ken Boothe,
Danielle Patucci,
U.S. Maple,
Byron Stingily,
Bauhaus,
Loose Ends,
Scott Walker,
Simply Red,
Todd Terry,
Fort Wilson Riot,
DJ Style,
Delta 5,
The Pop Group,
DNA,
The Blackbyrds,
Hashim,
The Barracudas,
Laurel Aitken,
Man Parrish,
The Velvet Underground,
Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan.
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.