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 Rwanda and from Beijing.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Tokyo and Tokyo.
I'm losing my edge to the art-school Salvador 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 Captain Beefheart 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 Happenings to the electroclash 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 Nation of Ulysses. All the underground hits.
All a-ha tracks. I heard you have a vinyl of every Section 25 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 '60s cut and another box set from the '90s.
I hear you're buying a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Vaughan Mason & Crew record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harpers Bizarre,
Depeche Mode,
Idris Muhammad,
The Dirtbombs,
Glenn Branca,
The Flesh Eaters,
De La Soul & Jungle Brothers,
Rekid,
Alphaville,
Magma,
Selector Dub Narcotic,
UT,
Charles Mingus,
The Monochrome Set,
A Flock of Seagulls,
The Moleskins,
James White and The Blacks,
Spandau Ballet,
The Pop Group,
Von Mondo,
The Fugs,
Lower 48,
Essential Logic,
Tom Boy,
Sun Ra Arkestra,
Con Funk Shun,
Fear,
Bobbi Humphrey,
Dennis Brown,
The Trojans,
The Remains,
Chris & Cosey,
Bauhaus,
Wighnomy Brothers & Robag Wruhme,
Deutsch Amerikanische Freundschaft,
Pete Rock & C.L. Smooth,
Jeru the Damaja,
The Jesus and Mary Chain,
Marcia Griffiths,
Loose Ends,
Accadde A,
Duran Duran,
The Mighty Diamonds,
Moby Grape,
Hoover,
Pagans,
8 Eyed Spy,
Zero Boys,
Archie Shepp,
Funkadelic,
Cluster,
Prince Buster,
Dark Day,
London Community Gospel Choir,
The Smiths,
Inner City,
Silicon Teens,
The Men They Couldn't Hang,
The Modern Lovers,
Fela Kuti,
K-Klass,
Stetsasonic,
Basic Channel, Basic Channel, Basic Channel, Basic Channel.
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.