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 Liberia and from Cairo.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Tehran and Accra.
I'm losing my edge to the art-school Tokyo 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 theremin sounds with much patience.
I was there when Robert Palmer 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 Eric B and Rakim to the techno kids.
I played it at the 40 Watt.
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 Zapp. All the underground hits.
All Josef K tracks. I heard you have a vinyl of every Yazoo record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a KRS-One record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric B and Rakim,
Bluetip,
Gang of Four,
The Fall,
Roy Ayers,
Ludus,
Derrick May,
Dawn Penn,
Tubeway Army,
Shuggie Otis,
Lou Reed & John Cale,
The Gun Club,
Average White Band,
Sällskapet,
Sister Nancy,
Don Cherry,
E-Dancer,
The Selecter,
Ituana,
Howard Jones,
Eddi Front,
The Star Department,
Eden Ahbez,
The Zeros,
The Remains,
Selector Dub Narcotic,
Boogie Down Productions,
Crooked Eye,
Monks,
Rowland S Howard / Lydia Lunch,
The Sound,
Outsiders,
Robert Hood,
De La Soul & Jungle Brothers,
Radiopuhelimet,
Avey Tare & Kría Brekkan,
World's Most,
Das Ding,
Rufus Thomas,
FM Einheit,
Red Lorry Yellow Lorry,
Michelle Simonal,
Hot Snakes,
Lyres,
The Victims,
Ohio Players,
Con Funk Shun,
Andrew Ashong & Theo Parrish,
The Slackers,
Thee Headcoats,
The Angels of Light,
The Last Poets,
Tommy Roe,
Tim Buckley,
Connie Case,
Erasure,
Los Fastidios,
Amazonics,
Scion,
The Cowsills, The Cowsills, The Cowsills, The Cowsills.
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.