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 Bosnia Herzegovina and from Bremen.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Johannesburg.
I'm losing my edge to the art-school Jakarta 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Michael McDonald 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 Jacob Miller to the crunk kids.
I played it at the Astoria.
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 Derrick May. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every Moss Icon record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your 808 and bought a snare.
I hear that you and your band have sold your snare and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Red Lorry Yellow Lorry,
Girls At Our Best!,
Flamin' Groovies,
Duran Duran,
Bluetip,
Crime,
Khruangbin,
Neil Young & Crazy Horse,
Kango’s Stein Massive,
The Black Dice,
Strawberry Alarm Clock,
Sun Ra Arkestra,
The Mummies,
Terry Callier,
Warsaw,
Cybotron,
The Detroit Cobras,
John Coltrane,
The Walker Brothers,
Deepchord,
Talk Talk,
Subhumans,
James Chance & The Contortions,
Main Source,
Siouxsie and the Banshees,
Ronan,
Wasted Youth,
Heavy D & The Boyz,
B.T. Express,
Selector Dub Narcotic,
Roxette,
Vladislav Delay,
a-ha,
Lou Christie,
Simply Red,
Mr. Review,
Stiv Bators,
Tommy Roe,
Sun Ra,
Sight & Sound,
Darondo,
Pole,
Stereo Dub,
Chris & Cosey,
Lafayette Afro Rock Band,
The Remains,
Bobbi Humphrey,
The Dirtbombs,
T. Rex,
Pussy Galore,
Beasts of Bourbon,
Connie Case,
A Flock of Seagulls,
The Toasters,
Joensuu 1685,
The Slits,
Lizzy Mercier Descloux,
JFA,
Royal Trux,
FM Einheit,
Sugar Minott,
Nation of Ulysses,
Shuggie Otis,
Brothers Johnson, Brothers Johnson, Brothers Johnson, Brothers Johnson.
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.