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 Comoros and from Bremen.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Seoul and Delhi.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 Andrew Hill to the rock kids.
I played it at the Crocodile.
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 Move. All the underground hits.
All This Heat tracks. I heard you have a vinyl of every Lizzy Mercier Descloux record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Au Pairs record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tommy Roe,
Lungfish,
Johnny Osbourne,
The Alarm Clocks,
T. Rex,
Ronan,
Johnny Clarke,
Newcleus,
Louis and Bebe Barron,
Negative Approach,
Chris Corsano,
Stetsasonic,
Loose Ends,
the Human League,
Flamin' Groovies,
Dawn Penn,
Sexual Harrassment,
Roxy Music,
Black Pus,
Lower 48,
The Selecter,
The Velvet Underground,
K-Klass,
X-Ray Spex,
Clear Light,
Y Pants,
Public Enemy,
Unrelated Segments,
Stockholm Monsters,
Jeff Lynne,
cv313,
Babytalk,
Bobby Byrd,
Lucky Dragons,
The Residents,
Deepchord,
Jawbox,
Blake Baxter,
Pagans,
Rod Modell,
The Standells,
Camberwell Now,
Ken Boothe,
Todd Terry,
The Toasters,
Richard Hell and the Voidoids,
Juan Atkins,
Reagan Youth,
Fugazi,
Amazonics,
Cymande,
Mantronix,
Henry Cow,
Metal Thangz,
Gil Scott-Heron & Brian Jackson,
Rekid,
The Real Kids,
Danielle Patucci,
Aloha Tigers,
Harpers Bizarre, Harpers Bizarre, Harpers Bizarre, Harpers Bizarre.
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.