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 Equatorial Guinea and from Salvador.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Hong Kong.
I'm losing my edge to the art-school Accra 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the linndrum sounds with much patience.
I was there when Lou Reed 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 Janne Schatter to the techno kids.
I played it at the Roxy.
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 Flash Fearless. All the underground hits.
All The Doobie Brothers tracks. I heard you have a vinyl of every The Toasters record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minutemen,
Sight & Sound,
The New Christs,
Yaz,
Derrick Morgan,
This Heat,
The Smiths,
Dorothy Ashby,
Q65,
Infiniti,
Theoretical Girls,
Lizzy Mercier Descloux,
Robert Görl,
Marcia Griffiths,
48th St. Collective,
X-102,
Nas,
Pole,
Public Image Ltd.,
Siouxsie and the Banshees,
Todd Rundgren,
Warren Ellis,
Barclay James Harvest,
Faraquet,
Big Daddy Kane,
The Standells,
The Fire Engines,
The Doors,
Icehouse,
The Wake,
The Raincoats,
Pharaoh Sanders and the Fire Engines,
the Human League,
Newcleus,
Dawn Penn,
Lakeside,
Barrington Levy,
Howard Jones,
The Pretty Things,
Sad Lovers and Giants,
Jesper Dahlback,
Curtis Mayfield,
Rahsaan Roland Kirk,
The American Breed,
Drexciya,
Lou Christie,
Television Personalities,
Von Mondo,
T.S.O.L.,
Gil Scott-Heron & Brian Jackson,
Barry Ungar,
A Certain Ratio,
The Monks,
Sonic Youth,
The Tremeloes,
U.S. Maple,
Al Stewart,
Oppenheimer Analysis,
Bootsy Collins,
Gang Gang Dance,
Sonny Sharrock,
Sound Behaviour,
Minor Threat,
Funkadelic,
The Skatalites, The Skatalites, The Skatalites, The Skatalites.
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.