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 Burkina and from Manchester.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1970.
I'm losing my edge.
To all the kids in Spokane and Milan.
I'm losing my edge to the art-school Taipei 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 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 Fort Wilson Riot to the techno 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 Gang of Four. All the underground hits.
All Terry Callier tracks. I heard you have a vinyl of every the Bar-Kays record on German import.
I heard that you have a white label of every seminal funk 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 snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gong,
Easy Going,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Crispian St. Peters,
Brick,
Anakelly,
Moss Icon,
LL Cool J,
Average White Band,
Brand Nubian,
Rowland S Howard / Lydia Lunch,
Kings Of Tomorrow,
Qualms,
In Retrospect,
Ten City,
Public Image Ltd.,
Max Romeo,
Scratch Acid,
The Slits,
Bush Tetras,
Wighnomy Brothers & Robag Wruhme,
Supertramp,
Deadbeat,
Amon Düül,
Laurel Aitken,
Main Source,
Eurythmics,
Lalo Schifrin,
kango's stein massive,
The Cosmic Jokers,
Gian Franco Pienzio,
Porter Ricks,
The Five Americans,
Goldenarms,
Justin Hinds & The Dominoes,
MC5,
Deakin,
The Stooges,
the Sonics,
The Moleskins,
Rakim,
Marvin Gaye,
The Fugs,
Nas,
Kenny Larkin,
Newcleus,
New York Dolls,
Mandrill,
Vaughan Mason & Crew,
New Order,
the Swans,
Letta Mbulu,
Scott Walker + Sunn O))),
Pylon,
The Sisters of Mercy,
Bad Manners,
Lebanon Hanover,
Minor Threat,
Sound Behaviour,
Bobby Byrd,
The Tremeloes, The Tremeloes, The Tremeloes, The Tremeloes.
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.