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 Tuvalu and from Glasgow.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Tokyo and Taipei.
I'm losing my edge to the art-school Toronto 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 oboe sounds with much patience.
I was there when Robert Palmer 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 Idris Muhammad to the dance kids.
I played it at the Roxy.
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 Boogie Down Productions. All the underground hits.
All Donny Hathaway tracks. I heard you have a vinyl of every Soft Machine 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 '50s cut and another box set from the '70s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Lydon,
Joensuu 1685,
Eve St. Jones,
Shuggie Otis,
June of 44,
Motorama,
The Fall,
Laurel Aitken,
Ponytail,
Nirvana,
The Mummies,
Simply Red,
Yazoo,
Moby Grape,
Sun City Girls,
Cymande,
Flamin' Groovies,
Hardrive,
The J.B.'s,
Saccharine Trust,
Warren Ellis,
The Fire Engines,
Lizzy Mercier Descloux,
Throbbing Gristle,
Scratch Acid,
The Index,
The Music Machine,
The New Christs,
The Sound,
Hashim,
Fugazi,
Big Daddy Kane,
Das Ding,
Erykah Badu,
OOIOO,
Roxy Music,
The Move,
Average White Band,
Jeru the Damaja,
Barbara Tucker,
Rekid,
John Cale,
Mission of Burma,
Gil Scott-Heron and Jamie xx,
Marine Girls,
Essential Logic,
Peter & Gordon,
Absolute Body Control,
ABC,
Drexciya,
A Certain Ratio,
Mary Jane Girls,
China Crisis,
Soft Cell,
Gastr Del Sol,
Radio Birdman,
Bootsy Collins,
Cheater Slicks,
Patti Smith,
The Golliwogs,
Sticky Fingaz feat. Raekwon,
The Remains, The Remains, The Remains, The Remains.
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.