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 Guatemala 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 1969 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Stockholm.
I'm losing my edge to the art-school Sao Paulo 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the rhodes 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 Scratch Acid to the jazz 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 The Moleskins. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every a-ha record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Super Lover Cee & Casanova Rud record.
I hear that you and your band have sold your harpsichord and bought an organ.
I hear that you and your band have sold your organ and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Terry,
Donald Byrd,
Bill Wells,
Röyhkä ja Rättö ja Lehtisalo,
DNA,
Model 500,
Khruangbin,
Brick,
Siouxsie and the Banshees,
The Slackers,
JFA,
Fugazi,
Quando Quango,
De La Soul & Jungle Brothers,
Marshall Jefferson,
Visionaries,LMNO, T- Love & Iriscience,
Gang of Four,
Roger Hodgson,
The Gories,
Gil Scott-Heron and Jamie xx,
Gian Franco Pienzio,
LL Cool J,
Marcia Griffiths,
AZ,
Eden Ahbez,
The Divine Comedy,
The Zeros,
The Sonics,
A Flock of Seagulls,
Marvin Gaye,
Ronnie Foster,
Sugar Minott,
Unrelated Segments,
Panda Bear,
The Smiths,
Oppenheimer Analysis,
Jacques Brel,
It's A Beautiful Day,
Graham Central Station,
Barry Ungar,
The Evens,
Echo & the Bunnymen,
Tommy Roe,
Dawn Penn,
The Leaves,
Angels of Light & Akron/Family,
Sonic Youth,
Lower 48,
Ralphi Rosario,
Fear,
Surgeon,
Andrew Ashong & Theo Parrish,
Lou Reed & John Cale,
John Foxx,
Stetsasonic,
Vainqueur,
The Shadows of Knight,
Fad Gadget,
Make Up,
Hardrive,
Eli Mardock,
Minor Threat,
The Fall,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.