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 Paraguay and from Manila.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1976.
I'm losing my edge.
To all the kids in Cairo and Delhi.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the spring reverb sounds with much patience.
I was there when Donald Fagen 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 Von Mondo to the rap kids.
I played it at Trash.
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 Metal Thangz. All the underground hits.
All Faraquet tracks. I heard you have a vinyl of every Camron Feat. Memphis Bleek And Beenie Seigel 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 '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a DNA record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nirvana,
Schoolly D,
Grandmaster Flash,
It's A Beautiful Day,
A Certain Ratio,
Lower 48,
The Electric Prunes,
Harpers Bizarre,
Porter Ricks,
James Chance & The Contortions,
Henry Cow,
Gil Scott-Heron and Jamie xx,
Cymande,
The Saints,
Underground Resistance,
James White and The Blacks,
Todd Terry,
Derrick May,
Anthony Braxton,
New York Dolls,
Cluster,
Funky Four + One,
The Walker Brothers,
Spoonie Gee,
The Associates,
Jesper Dahlback,
The Knickerbockers,
Ornette Coleman,
Fat Boys,
Cameo,
PIL,
D'Angelo,
Slave,
The Cowsills,
Zero Boys,
Television,
Angels of Light & Akron/Family,
Hot Snakes,
Notorious BIG live in Amsterdam,
Scan 7,
L. Decosne,
Eyeless In Gaza,
Ken Boothe,
The Misunderstood,
Suburban Knight,
Amazonics,
Lafayette Afro Rock Band,
Frankie Knuckles,
Monks,
Black Sheep,
Absolute Body Control,
Metal Thangz,
Red Lorry Yellow Lorry,
Godley & Creme,
Albert Ayler,
Selector Dub Narcotic,
Andrew Ashong & Theo Parrish,
Arab on Radar,
Interpol,
X-101,
Drive Like Jehu,
Tommy Roe, Tommy Roe, Tommy Roe, Tommy Roe.
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.