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 Angola and from Tokyo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Tehran and Portland.
I'm losing my edge to the art-school Mexico City 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 chamberlin 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 David McCallum to the dance kids.
I played it at the Hacienda.
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 Gil Scott-Heron and Jamie xx. All the underground hits.
All Slave tracks. I heard you have a vinyl of every Robert Wyatt record on German import.
I heard that you have a white label of every seminal punk 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 güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a New York Dolls record.
I hear that you and your band have sold your marimba and bought a 808.
I hear that you and your band have sold your 808 and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lizzy Mercier Descloux,
The Skatalites,
Barclay James Harvest,
Lindisfarne,
Freddie Wadling,
Connie Case,
Amon Düül II,
Davy DMX,
Moebius,
The Standells,
Gerry Rafferty,
B.T. Express,
Ten City,
Soft Machine,
Fugazi,
The Chocolate Watch Band,
Reagan Youth,
Gary Puckett & The Union Gap,
Slave,
Boogie Down Productions,
The Dead C,
ABBA,
Traffic Nightmare,
Flamin' Groovies,
Siglo XX,
Matthew Halsall,
Quantec,
Lebanon Hanover,
Chris & Cosey,
Robert Hood,
Robert Wyatt,
Sly & The Family Stone,
Avey Tare's Slasher Flicks,
Pussy Galore,
48th St. Collective,
Eddi Front,
Bizarre Inc.,
Kevin Saunderson,
Crooked Eye,
Fifty Foot Hose,
The Real Kids,
Con Funk Shun,
Gil Scott-Heron & Brian Jackson,
Fort Wilson Riot,
Wire,
Eyeless In Gaza,
Shuggie Otis,
Eric B and Rakim,
MDC,
Liaisons Dangereuses,
The Birthday Party,
Rod Modell,
Warren Ellis,
Anthony Braxton,
Japan,
The Tremeloes,
Byron Stingily,
Black Flag,
Livin' Joy,
Bluetip,
Althea and Donna, Althea and Donna, Althea and Donna, Althea and Donna.
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.