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 Nauru and from Manchester.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Mumbai.
I'm losing my edge to the art-school Lille 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the clarinet sounds with much patience.
I was there when Nile Rodgers 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 Warsaw to the punk kids.
I played it at the 40 Watt.
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 Sonny Sharrock. All the underground hits.
All Peter Gordon & Love of Life Orchestra tracks. I heard you have a vinyl of every The Fuzztones record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Stooges record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hasil Adkins,
Kerrie Biddell,
Wings,
Gerry Rafferty,
Skriet,
Sex Pistols,
The Gap Band,
Goldenarms,
the Soft Cell,
JFA,
The Golliwogs,
John Lydon,
Ultravox,
The Neon Judgement,
The Monks,
Model 500,
The Zeros,
Parry Music,
Leonard Cohen,
Arab on Radar,
the Sonics,
Lungfish,
Negative Approach,
Curtis Mayfield,
Eve St. Jones,
Isaac Hayes,
the Swans,
The Dave Clark Five,
In Retrospect,
Soul II Soul,
The Barracudas,
Man Parrish,
Crispy Ambulance,
Half Japanese,
The New Christs,
Zero Boys,
Grandmaster Flash,
Yellowson,
U.S. Maple,
Kurtis Blow,
Fugazi,
Deepchord,
The Blackbyrds,
KRS-One,
The Misunderstood,
the Normal,
Sound Behaviour,
Das Ding,
Metal Thangz,
Whodini,
Terry Callier,
Ossler,
Gil Scott-Heron and Jamie xx,
The West Coast Pop Art Experimental Band,
Skarface,
Pussy Galore,
Bob Dylan,
Mad Mike,
Throbbing Gristle,
The Litter,
The Index,
Bobby Sherman, Bobby Sherman, Bobby Sherman, Bobby Sherman.
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.