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 United Kingdom and from Milan.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Accra and Johannesburg.
I'm losing my edge to the art-school Tehran 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 Soft Boys practice in a loft in Cambridge.
I was working on the güiro 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 Fania All-Stars to the disco 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 Crime. All the underground hits.
All Warren Ellis tracks. I heard you have a vinyl of every Arthur Verocai record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a guitar 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 theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Section 25,
Dennis Brown,
LL Cool J,
Joyce Sims,
Skriet,
Albert Ayler,
Ken Boothe,
A Certain Ratio,
James Chance & The Contortions,
Glenn Branca,
Pete Rock & C.L. Smooth,
a-ha,
The Gories,
Carl Craig,
Monolake,
Grey Daturas,
Grandmaster Flash and the Furious Five,
Subhumans,
Max Romeo,
Rhythim Is Rhythim,
L. Decosne,
The Mojo Men,
Infiniti,
Loose Ends,
Siouxsie and the Banshees,
Manfred Mann's Earth Band,
Jerry Gold Smith,
Lakeside,
The Music Machine,
Mr. Review,
Terry Callier,
Siglo XX,
Heaven 17,
Louis and Bebe Barron,
Wally Richardson,
The Stooges,
Camron Feat. Memphis Bleek And Beenie Seigel,
Marvin Gaye,
The Smoke,
Slave,
Chrome,
Livin' Joy,
Soul II Soul,
Y Pants,
The Blackbyrds,
Pharaoh Sanders and the Fire Engines,
Notorious Big And Bone Thugs,
Main Source,
Scrapy,
Glambeats Corp.,
The Dave Clark Five,
The Residents,
Whodini,
Easy Going,
Minny Pops,
Bobby Sherman,
DJ Sneak,
H. Thieme,
Tom Boy,
The Monks, The Monks, The Monks, The Monks.
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.