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 Azerbaijan and from Lyon.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Lagos and Tokyo.
I'm losing my edge to the art-school Lagos 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the arpeggiator 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 The Cramps to the punk 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 MC5. All the underground hits.
All Andrew Hill tracks. I heard you have a vinyl of every Aloha Tigers 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 synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Smoke record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacob Miller,
The Beau Brummels,
The Alarm Clocks,
In Retrospect,
Jacques Brel,
Heavy D & The Boyz,
Hoover,
Amazonics,
Basic Channel,
Deakin,
Nick Cave & The Bad Seeds,
Grauzone,
Deutsch Amerikanische Freundschaft,
Curtis Mayfield,
X-Ray Spex,
Bush Tetras,
OOIOO,
KRS-One,
Crooked Eye,
Dave Gahan,
Sight & Sound,
Marmalade,
Sällskapet,
Section 25,
Brand Nubian,
Faust,
Goldenarms,
Joe Smooth,
Tears for Fears,
The Gladiators,
Pharaoh Sanders and the Fire Engines,
D'Angelo,
Jawbox,
Hasil Adkins,
Easy Going,
Orchestral Manoeuvres in the Dark,
Angels of Light & Akron/Family,
Alice Coltrane,
The Detroit Cobras,
Glenn Branca,
Scott Walker,
The Associates,
Matthew Halsall,
Bobby Sherman,
Sonny Sharrock,
Absolute Body Control,
Crispy Ambulance,
The Black Dice,
Unrelated Segments,
Arthur Verocai,
New Order,
Kool G Rap & DJ Polo,
Avey Tare,
Erasure,
Ultramagnetic MC's,
Deadbeat,
David McCallum,
Skarface,
CMW,
Malaria!,
Crash Course in Science,
Essential Logic, Essential Logic, Essential Logic, Essential Logic.
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.