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 Djibouti and from Glasgow.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 Halifax and Copenhagen.
I'm losing my edge to the art-school Delhi 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the güiro 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 N.O.R.E. Featuring Pharrell to the crunk 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 Reagan Youth. All the underground hits.
All Orchestral Manoeuvres in the Dark tracks. I heard you have a vinyl of every Babytalk 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 '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your guitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Lydon,
Marc Romboy vs. Booka Shade,
Dorothy Ashby,
48th St. Collective,
Circle Jerks,
Fear,
Lafayette Afro Rock Band,
The Offenders,
Albert Ayler,
Minny Pops,
Harmonia,
Yaz,
The Music Machine,
Minutemen,
Sam Rivers,
Robert Hood,
The Fortunes,
Max Romeo,
Rhythm & Sound,
Schoolly D,
DJ Sneak,
Electric Prunes,
Y Pants,
Terry Callier,
Godley & Creme,
Agitation Free,
Sonic Youth,
Wally Richardson,
Kas Product,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Alison Limerick,
Peter & Gordon,
Nik Kershaw,
Ronan,
Stiv Bators,
Derrick Morgan,
Angry Samoans,
Steve Hackett,
Althea and Donna,
Manfred Mann's Earth Band,
Brass Construction,
Deutsch Amerikanische Freundschaft,
Main Source,
Hot Snakes,
Ash Ra Tempel,
Section 25,
Skarface,
Sister Nancy,
Howard Jones,
Excepter,
Moss Icon,
the Association,
Jimmy McGriff,
Icehouse,
Jerry's Kids,
Leonard Cohen,
Wasted Youth,
Sun City Girls,
Sixth Finger,
Model 500,
Spoonie Gee,
the Germs,
Arcadia,
Black Sheep, Black Sheep, Black Sheep, Black Sheep.
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.