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 Togo and from Salvador.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1969 to 1978.
I'm losing my edge.
To all the kids in Delhi and Seoul.
I'm losing my edge to the art-school Lille 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 808 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 Alton Ellis to the disco kids.
I played it at the Hacienda.
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 Adolescents. All the underground hits.
All The Stooges tracks. I heard you have a vinyl of every The Slits record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drexciya,
Eve St. Jones,
Ten City,
Brothers Johnson,
Siouxsie and the Banshees,
Eurythmics,
Thinking Fellers Union Local 282,
Skarface,
Suburban Knight,
Rakim,
D'Angelo,
Fear,
Kings Of Tomorrow,
Mad Mike,
The Dirtbombs,
Bobbi Humphrey,
Bill Near,
Zero Boys,
Deutsch Amerikanische Freundschaft,
Zapp,
Magazine,
This Heat,
Kerri Chandler,
London Community Gospel Choir,
The Cure,
Underground Resistance,
Grauzone,
Dennis Brown,
the Sonics,
Soul II Soul,
Japan,
Public Enemy,
Alison Limerick,
Warren Ellis,
Reagan Youth,
Deadbeat,
The Move,
Sun City Girls,
Pussy Galore,
Masters at Work,
Electric Prunes,
Main Source,
Toni Rubio,
Pete Rock & C.L. Smooth,
Andrew Ashong & Theo Parrish,
Gang Gang Dance,
Echospace,
The Slackers,
Scrapy,
48th St. Collective,
Avey Tare & Kría Brekkan,
Country Joe & The Fish,
Rufus Thomas,
The Pop Group,
Larry & the Blue Notes,
Procol Harum,
The Angels of Light,
The Grass Roots,
Junior Murvin,
World's Most,
Pylon,
Siglo XX,
Yazoo,
Oneida, Oneida, Oneida, Oneida.
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.