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 Nicaragua and from Lagos.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Johannesburg.
I'm losing my edge to the art-school Johannesburg 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 808 sounds with much patience.
I was there when David Bowie 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 Busters to the jazz 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 Urselle. All the underground hits.
All Pulsallama tracks. I heard you have a vinyl of every a-ha record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your synthesizer and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fugs,
Roger Hodgson,
Rosa Yemen,
Ornette Coleman,
Fela Kuti,
The Modern Lovers,
Swell Maps,
The Doobie Brothers,
Soft Machine,
Schoolly D,
The Five Americans,
Crime,
Rod Modell,
Bad Manners,
Terrestrial Tones,
Idris Muhammad,
The Angels of Light,
Faraquet,
T. Rex,
Oblivians,
Bootsy Collins,
Bobbi Humphrey,
Roy Ayers,
Deakin,
Eric Dolphy,
Peter & Gordon,
Avey Tare's Slasher Flicks,
Amon Düül,
Stiv Bators,
JFA,
Cheater Slicks,
Basic Channel,
Bootsy's Rubber Band,
Spoonie Gee,
Porter Ricks,
Marine Girls,
cv313,
Crispian St. Peters,
Scott Walker,
Arab on Radar,
Junior Murvin,
Dr. Dre and Snoop Doggy Dog,
Thinking Fellers Union Local 282,
Accadde A,
Jacob Miller,
Surgeon,
Section 25,
Byron Stingily,
The Human League,
Unwound,
Arcadia,
Sister Nancy,
Von Mondo,
Skaos,
Archie Shepp,
Banda Bassotti,
Groovy Waters,
Letta Mbulu,
Graham Central Station,
Art Ensemble Of Chicago,
The Cramps,
The Smoke,
Lyres,
Bauhaus, Bauhaus, Bauhaus, Bauhaus.
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.