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 Solomon Islands and from Manchester.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and Delhi.
I'm losing my edge to the art-school Tokyo 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the 808 sounds with much patience.
I was there when David Bowie 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 Aaron Thompson to the funk kids.
I played it at the Spitz.
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 Henry Cow. All the underground hits.
All Danielle Patucci tracks. I heard you have a vinyl of every Patti Smith record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Wally Richardson record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Severed Heads,
Jesper Dahlback,
Prince Buster,
Tim Buckley,
Jimmy McGriff,
Archie Shepp,
Visage,
Reagan Youth,
Minutemen,
John Foxx,
Rhythim Is Rhythim,
Chris & Cosey,
Selector Dub Narcotic,
Infiniti,
Fatback Band,
Public Enemy,
Amazonics,
The Doobie Brothers,
The Black Dice,
Neil Young,
Ice-T,
Harmonia,
Liaisons Dangereuses,
The New Christs,
London Community Gospel Choir,
Black Flag,
The Mummies,
the Human League,
Crash Course in Science,
Hashim,
Brothers Johnson,
Kayak,
The Motions,
Sparks,
8 Eyed Spy,
Con Funk Shun,
Black Pus,
Ohio Players,
the Sonics,
Arcadia,
Khruangbin,
Technova,
Shuggie Otis,
Gabor Szabo,
Swans,
Sunsets and Hearts,
Stiv Bators,
Deutsch Amerikanische Freundschaft,
Echospace,
Kas Product,
MDC,
Gang Green,
the Bar-Kays,
Lee Hazlewood,
Colin Newman,
Barry Ungar,
Siglo XX,
Babytalk,
The Red Krayola,
Bang On A Can,
Radiopuhelimet,
Lightning Bolt, Lightning Bolt, Lightning Bolt, Lightning Bolt.
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.