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 Micronesia and from Johannesburg.
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 1976.
I'm losing my edge.
To all the kids in Stockholm and Seoul.
I'm losing my edge to the art-school Milan 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 snare 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 Drexciya to the funk kids.
I played it at Cafe Wha.
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 Rahsaan Roland Kirk. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every Electric Prunes 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 '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
AZ,
The Star Department,
Outsiders,
Severed Heads,
Negative Approach,
JFA,
Rakim,
The Vogues,
Camron Feat. Memphis Bleek And Beenie Seigel,
Zero Boys,
The Gap Band,
48th St. Collective,
Judy Mowatt,
Scott Walker,
Sonic Youth,
Ajijia Myrayebe,
Guru Guru,
K-Klass,
The Moleskins,
The Victims,
Joey Negro,
Bronski Beat,
Agent Orange,
Marvin Gaye,
Liliput,
Malaria!,
Nas,
B.T. Express,
The Detroit Cobras,
Scratch Acid,
Wally Richardson,
the Slits,
Groovy Waters,
The Cosmic Jokers,
the Human League,
Teenage Jesus and the Jerks,
Alison Limerick,
The Move,
Gang of Four,
The Knickerbockers,
Crooked Eye,
Bang on a Can All-Stars,
Terry Callier,
Banda Bassotti,
Barrington Levy,
Popol Vuh,
Peter & Gordon,
Eyeless In Gaza,
The Dead C,
Michelle Simonal,
Kevin Saunderson,
Hardrive,
Louis and Bebe Barron,
Dead Boys,
Nick Fraelich,
Rufus Thomas,
Icehouse,
Electric Light Orchestra,
PIL, PIL, PIL, PIL.
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.