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 Syria and from Stockholm.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1973.
I'm losing my edge.
To all the kids in Jakarta and Glasgow.
I'm losing my edge to the art-school Woodstock 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 chamberlin 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 The Martian to the grunge 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 Outsiders. All the underground hits.
All Pharaoh Sanders and the Fire Engines tracks. I heard you have a vinyl of every Leonard Cohen record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Camberwell Now record.
I hear that you and your band have sold your snare and bought a theremin.
I hear that you and your band have sold your theremin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash and the Furious Five,
Sunsets and Hearts,
Das Ding,
Morten Harket,
June Days,
Lyres,
T.S.O.L.,
The Gladiators,
Gang of Four,
Ultimate Spinach,
Johnny Osbourne,
Saccharine Trust,
Nick Cave & The Bad Seeds,
Zapp,
The West Coast Pop Art Experimental Band,
Excepter,
Cymande,
Ronnie Foster,
U.S. Maple,
Tomorrow,
Suburban Knight,
Loose Ends,
Organ,
Bang On A Can,
ABBA,
Qualms,
Slave,
Adolescents,
Bobby Byrd,
Judy Mowatt,
The Searchers,
Masters at Work,
Boogie Down Productions,
Kurtis Blow,
Hot Snakes,
The Standells,
Stetsasonic,
Absolute Body Control,
James Chance & The Contortions,
the Sonics,
Albert Ayler,
This Heat,
Lucky Dragons,
Richard Hell and the Voidoids,
Underground Resistance,
Sarah Menescal,
Max Romeo,
China Crisis,
Pantaleimon,
The New Christs,
June of 44,
Ice-T,
Rakim,
John Cale,
The Blackbyrds,
Guru Guru,
Notorious Big And Bone Thugs,
Severed Heads,
Davy DMX,
Electric Prunes,
The Doobie Brothers,
Letta Mbulu, Letta Mbulu, Letta Mbulu, Letta Mbulu.
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.