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 Libya and from Sao Paulo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Philadelphia.
I'm losing my edge to the art-school Bologna 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 guitar 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 The Music Machine to the electroclash kids.
I played it at the Crocodile.
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 Franke. All the underground hits.
All Sonny Sharrock tracks. I heard you have a vinyl of every Kaleidoscope record on German import.
I heard that you have a white label of every seminal electroclash 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 an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Dirtbombs record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacob Miller,
the Human League,
Byron Stingily,
Theoretical Girls,
The Royal Family And The Poor,
Soul Sonic Force,
The Fortunes,
Major Organ And The Adding Machine,
Warsaw,
Heaven 17,
Bootsy Collins,
The Selecter,
UT,
Eddi Front,
June of 44,
Grey Daturas,
Smog,
Brick,
Selector Dub Narcotic,
the Sonics,
Scientists,
The Index,
Camron Feat. Memphis Bleek And Beenie Seigel,
Rhythm & Sound,
The Beau Brummels,
Scott Walker + Sunn O))),
The Pretty Things,
Scan 7,
Ossler,
Colin Newman,
The Blackbyrds,
Sonny Sharrock,
Eric Copeland,
Tubeway Army,
Glenn Branca,
Public Enemy,
Pulsallama,
The Raincoats,
D'Angelo,
Fear,
David Bowie,
Lakeside,
The Music Machine,
Symarip,
B.T. Express,
Tropical Tobacco,
Cameo,
The Toasters,
JFA,
Deakin,
Letta Mbulu,
The Seeds,
Crime,
Ohio Players,
Das Ding,
Althea and Donna,
Supertramp,
Basic Channel,
Lebanon Hanover,
Faust, Faust, Faust, Faust.
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.