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 Israel and from Lagos.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1973.
I'm losing my edge.
To all the kids in Johannesburg and Shanghai.
I'm losing my edge to the art-school Tehran 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 sitar 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 Rosa Yemen to the crunk kids.
I played it at CBGB's.
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 Darondo. All the underground hits.
All The Standells tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Essential Logic record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Loose Ends,
Fluxion,
Cameo,
The Searchers,
Harmonia,
Bush Tetras,
Wasted Youth,
Super Lover Cee & Casanova Rud,
Lindisfarne,
The Tremeloes,
Patti Smith,
John Holt,
Hasil Adkins,
Iggy Pop,
Todd Rundgren,
The Golliwogs,
Mad Mike,
The Sonics,
Lightning Bolt,
Sixth Finger,
The Evens,
Thee Headcoats,
Louis and Bebe Barron,
Jeru the Damaja,
Panda Bear,
Peter & Gordon,
Los Fastidios,
Ossler,
Crime,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Ponytail,
Marc Romboy vs. Booka Shade,
Peter Gordon & Love of Life Orchestra,
Jesper Dahlbäck,
Animal Collective,
K-Klass,
The Kinks,
Bobby Hutcherson,
Tears for Fears,
Excepter,
Rekid,
Bobby Byrd,
Anthony Braxton,
Ronnie Foster,
Sugar Minott,
a-ha,
These Immortal Souls,
Robert Hood,
the Swans,
DeepChord presents Echospace,
A Certain Ratio,
The Gladiators,
Sam Rivers,
Todd Terry,
Brand Nubian,
Jimmy McGriff,
Second Layer,
The Last Poets,
Leonard Cohen, Leonard Cohen, Leonard Cohen, Leonard Cohen.
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.