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 Bolivia and from Spokane.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Shanghai and Salvador.
I'm losing my edge to the art-school Seoul 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 at the first Suicide practice in a loft in New York.
I was working on the marimba 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 Kurtis Blow to the funk kids.
I played it at the Spitz.
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 Ten City. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every June of 44 record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Junior Murvin record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
Donny Hathaway,
Ultimate Spinach,
Pagans,
Black Sheep,
Darondo,
Yazoo,
Newcleus,
Pantaleimon,
Jeru the Damaja,
The Mojo Men,
Ten City,
June of 44,
Supertramp,
The Barracudas,
The Real Kids,
The Cramps,
Masters at Work,
Notorious BIG live in Amsterdam,
Skaos,
Franke,
Banda Bassotti,
Slick Rick,
Outsiders,
Scion,
Fat Boys,
Donald Byrd,
Royal Trux,
Notorious Big And Bone Thugs,
Ornette Coleman,
Röyhkä ja Rättö ja Lehtisalo,
Fear,
Rapeman,
Bauhaus,
Vaughan Mason & Crew,
The Detroit Cobras,
Pierre Henry,
Kayak,
the Bar-Kays,
Idris Muhammad,
Dorothy Ashby,
Aaron Thompson,
UT,
The Beau Brummels,
The Fugs,
Quando Quango,
Mark Hollis,
Scott Walker,
The Trojans,
The Sound,
A Flock of Seagulls,
Aswad,
MC5,
The Raincoats,
Throbbing Gristle,
Art Ensemble Of Chicago,
Aural Exciters,
The Zeros,
the Human League,
Rowland S Howard / Lydia Lunch,
Tropical Tobacco,
The Names,
Minnie Riperton,
MDC, MDC, MDC, MDC.
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.