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 Namibia and from Houston.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Columbus and Lyon.
I'm losing my edge to the art-school Stockholm 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 clarinet 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 Young Marble Giants to the funk 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 Nik Kershaw. All the underground hits.
All Ultramagnetic MC's tracks. I heard you have a vinyl of every The Walker Brothers record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Slackers record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soul II Soul,
Nation of Ulysses,
Major Organ And The Adding Machine,
the Soft Cell,
Don Cherry,
Zero Boys,
Eyeless In Gaza,
Sandy B,
Aaron Thompson,
Davy DMX,
Desert Stars,
Country Joe & The Fish,
The Cowsills,
Second Layer,
John Cale,
Neil Young & Crazy Horse,
Crispian St. Peters,
Brothers Johnson,
The Slackers,
The Toasters,
Roy Ayers,
Matthew Halsall,
Intrusion,
Sly & The Family Stone,
Shuggie Otis,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Beasts of Bourbon,
Roy Ayers Ubiquity,
cv313,
Ultravox,
Cameo,
Rowland S Howard / Lydia Lunch,
Barrington Levy,
Public Enemy,
China Crisis,
Harry Pussy,
Kurtis Blow,
Ultra Naté,
Lungfish,
Grandmaster Flash,
The Stooges,
Faraquet,
Lakeside,
Camouflage,
Gian Franco Pienzio,
Bang on a Can All-Stars,
Sixth Finger,
Siouxsie and the Banshees,
The Zeros,
Todd Terry,
48th St. Collective,
Bobby Sherman,
Lonnie Liston Smith,
Ossler,
The Chocolate Watch Band,
The Star Department,
The Gap Band,
X-102,
Radio Birdman,
Boredoms,
The Skatalites,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.