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 South Sudan and from Mumbai.
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 1979.
I'm losing my edge.
To all the kids in London and Columbus.
I'm losing my edge to the art-school New York 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the sitar sounds with much patience.
I was there when Captain Beefheart 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 Selecter to the rock kids.
I played it at the Spitz.
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 Brass Construction. All the underground hits.
All Bad Manners tracks. I heard you have a vinyl of every Big Daddy Kane record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Dead Boys record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Finger,
The Raincoats,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Blackbyrds,
Pantytec,
The Litter,
Reagan Youth,
Harmonia,
cv313,
Electric Prunes,
Skriet,
Siouxsie and the Banshees,
the Soft Cell,
Easy Going,
Danielle Patucci,
Throbbing Gristle,
Ohio Players,
Patti Smith,
Art Ensemble Of Chicago,
Lalann,
New Age Steppers,
The Flesh Eaters,
Wolf Eyes,
Dennis Brown,
E-Dancer,
Graham Central Station,
Rhythim Is Rhythim,
Minor Threat,
The Searchers,
Urselle,
The Tremeloes,
Wings,
Freddie Wadling,
Peter & Gordon,
The Pretty Things,
The Misunderstood,
the Sonics,
Beasts of Bourbon,
Eurythmics,
Vaughan Mason & Crew,
The Zeros,
X-102,
Avey Tare & Kría Brekkan,
June of 44,
Eric Dolphy,
Ultimate Spinach,
The Cure,
the Association,
Jawbox,
Von Mondo,
De La Soul & Jungle Brothers,
The Fugs,
The Gap Band,
Matthew Halsall,
Gil Scott-Heron & Brian Jackson,
Porter Ricks,
Bronski Beat,
Fat Boys,
Mandrill,
Gabor Szabo,
The Human League,
U.S. Maple,
FM Einheit,
The Leaves, The Leaves, The Leaves, The Leaves.
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.