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 Barbados and from Columbus.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1965 to 1978.
I'm losing my edge.
To all the kids in Salvador and Beijing.
I'm losing my edge to the art-school Beijing 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 güiro sounds with much patience.
I was there when Donald Fagen 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 Boogie Down Productions to the funk 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 Fatback Band. All the underground hits.
All The Slits tracks. I heard you have a vinyl of every Joy Division 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 a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Pantaleimon record.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott Heron,
Oneida,
Second Layer,
Outsiders,
Brass Construction,
Wolf Eyes,
Kurtis Blow,
The Fire Engines,
D'Angelo,
Ajijia Myrayebe,
Mr. Review,
Harmonia,
Urselle,
Agent Orange,
Quantec,
Eddi Front,
Ice-T,
Tim Buckley,
The Sonics,
Crooked Eye,
Kerrie Biddell,
the Human League,
Oppenheimer Analysis,
Judy Mowatt,
Art Ensemble Of Chicago,
Tubeway Army,
Scientists,
The Martian,
The Angels of Light,
The Offenders,
Rahsaan Roland Kirk,
Symarip,
Delta 5,
Fugazi,
Bootsy's Rubber Band,
X-102,
Con Funk Shun,
The Electric Prunes,
Soulsonic Force,
Max Romeo,
Graham Central Station,
the Sonics,
Rowland S Howard / Lydia Lunch,
Tres Demented,
Sandy B,
Fela Kuti,
Chris Corsano,
Joe Smooth,
Hardrive,
Amazonics,
Bang On A Can,
Livin' Joy,
The Jesus and Mary Chain,
DNA,
Nik Kershaw,
Joy Division,
The Leaves,
Monks,
The Fortunes,
Nirvana,
The Alarm Clocks,
Parry Music,
Minutemen, Minutemen, Minutemen, Minutemen.
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.