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 China and from Lyon.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Glasgow.
I'm losing my edge to the art-school Columbus 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the güiro sounds with much patience.
I was there when Donald Fagen 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 New Christs to the disco kids.
I played it at the Astoria.
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 Vaughan Mason & Crew. All the underground hits.
All Todd Terry tracks. I heard you have a vinyl of every The Standells 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 '60s cut and another box set from the '90s.
I hear you're buying an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott Heron record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
The Dead C,
Liliput,
Reuben Wilson,
Ponytail,
Aaron Thompson,
The Neon Judgement,
Franke,
Zapp,
Funky Four + One,
Sight & Sound,
The Gun Club,
Model 500,
New Age Steppers,
Bang On A Can,
Derrick May,
Carl Craig,
Suicide,
Darondo,
Harpers Bizarre,
Yellowson,
Bizarre Inc.,
Public Enemy,
The Skatalites,
The Slackers,
Echospace,
Grandmaster Flash and the Furious Five,
Slave,
Brass Construction,
Tres Demented,
Scan 7,
Eric B and Rakim,
Sällskapet,
Pole,
Main Source,
Connie Case,
Q and Not U,
Pantaleimon,
John Foxx,
The Toasters,
Quadrant,
Aural Exciters,
Bauhaus,
Super Lover Cee & Casanova Rud,
The Electric Prunes,
Monolake,
Johnny Osbourne,
Al Stewart,
Rhythim Is Rhythim,
Sarah Menescal,
Gong,
Graham Central Station,
Red Lorry Yellow Lorry,
Minnie Riperton,
Gang of Four,
The Wake,
kango's stein massive,
Fort Wilson Riot,
Half Japanese,
Dr. Dre and Snoop Doggy Dog,
The Victims, The Victims, The Victims, The Victims.
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.