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 Korea South and from Toronto.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Lille and Beijing.
I'm losing my edge to the art-school Milan 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 harpsichord 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 Quando Quango to the grunge 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 Alison Limerick. All the underground hits.
All CMW tracks. I heard you have a vinyl of every The Jesus and Mary Chain record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Hill record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Theoretical Girls,
Byron Stingily,
CMW,
Sad Lovers and Giants,
Dawn Penn,
Major Organ And The Adding Machine,
Rites of Spring,
Bootsy Collins,
Junior Murvin,
EPMD,
Ash Ra Tempel,
The Buckinghams,
Whodini,
Marcia Griffiths,
The Blues Magoos,
Kerri Chandler,
the Normal,
The Five Americans,
Infiniti,
Funky Four + One,
Little Man,
The Selecter,
Joe Finger,
The Offenders,
Röyhkä ja Rättö ja Lehtisalo,
Ralphi Rosario,
The Martian,
Liaisons Dangereuses,
Oppenheimer Analysis,
Kas Product,
ABC,
The Associates,
Fluxion,
James White and The Blacks,
Idris Muhammad,
Unwound,
The Fortunes,
Thompson Twins,
Ultramagnetic MC's,
Boredoms,
The Doors,
The Busters,
Robert Wyatt,
Gang of Four,
Siouxsie and the Banshees,
Alice Coltrane,
Amon Düül,
The Sonics,
Tropical Tobacco,
John Coltrane,
T. Rex,
Audionom,
Matthew Halsall,
Depeche Mode,
The Black Dice,
Nico,
Duran Duran,
the Bar-Kays,
Barry Ungar,
Alton Ellis,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.