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 Iceland and from Paris.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Toronto and Accra.
I'm losing my edge to the art-school Cairo 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 The Cramps to the jazz kids.
I played it at the Astoria.
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 Jesper Dahlbäck tracks. I heard you have a vinyl of every Larry & the Blue Notes 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 '80s cut and another box set from the '80s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Blackbyrds,
Fort Wilson Riot,
Joy Division,
Accadde A,
Zapp,
Byron Stingily,
Soulsonic Force,
Scratch Acid,
Lafayette Afro Rock Band,
The Standells,
Faraquet,
Sex Pistols,
The Wake,
Michelle Simonal,
Jeff Mills,
Camron Feat. Jay Z And Juelz,
Scrapy,
Warren Ellis,
Althea and Donna,
Joe Smooth,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Quadrant,
Todd Rundgren,
Fad Gadget,
Funkadelic,
Thee Headcoats,
Kings Of Tomorrow,
Liaisons Dangereuses,
Babytalk,
10cc,
Marc Almond,
The Red Krayola,
Scott Walker,
The Cowsills,
Boogie Down Productions,
Barrington Levy,
Vladislav Delay,
Yaz,
Hoover,
Darondo,
Model 500,
Procol Harum,
L. Decosne,
La Düsseldorf,
Public Image Ltd.,
Deepchord,
Eric Dolphy,
Letta Mbulu,
Sixth Finger,
Godley & Creme,
Whodini,
The American Breed,
Organ,
Mad Mike,
Red Lorry Yellow Lorry,
Los Fastidios,
Tommy Roe,
Susan Cadogan,
Be Bop Deluxe,
Kauko Röyhkä ja Narttu,
Cecil Taylor,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.