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 Austria and from Sao Paulo.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Portland and Beijing.
I'm losing my edge to the art-school Lille 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the snare sounds with much patience.
I was there when Michael McDonald 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 Gian Franco Pienzio to the jazz 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 Sugar Minott. All the underground hits.
All Traffic Nightmare tracks. I heard you have a vinyl of every Lee Hazlewood record on German import.
I heard that you have a white label of every seminal grime 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 synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Organ record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Cale,
Slick Rick,
Outsiders,
Andrew Ashong & Theo Parrish,
Mad Mike,
Minor Threat,
Wasted Youth,
Metal Thangz,
Pole,
Tomorrow,
Aswad,
Tears for Fears,
The Human League,
Roger Hodgson,
Country Joe & The Fish,
Jacob Miller,
Lebanon Hanover,
Japan,
Liaisons Dangereuses,
The Count Five,
Notorious Big And Bone Thugs,
Faust,
Angels of Light & Akron/Family,
Crispian St. Peters,
Fat Boys,
Chris Corsano,
Robert Wyatt,
Masters at Work,
Jerry's Kids,
Wighnomy Brothers & Robag Wruhme,
Parry Music,
The Alarm Clocks,
Camron Feat. Memphis Bleek And Beenie Seigel,
Jeff Mills,
KRS-One,
Fugazi,
Tim Buckley,
DJ Sneak,
Scott Walker,
Buzzcocks,
ABBA,
Lungfish,
Blake Baxter,
Cheater Slicks,
Orchestral Manoeuvres in the Dark,
Oppenheimer Analysis,
Quantec,
Kool G Rap & DJ Polo,
Kool Moe Dee,
Letta Mbulu,
Massinfluence,
Morten Harket,
Intrusion,
The Names,
Scrapy,
Neil Young,
Popol Vuh,
ABC,
The Royal Family And The Poor,
Slave,
Essential Logic,
The Toasters, The Toasters, The Toasters, The Toasters.
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.