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 Latvia and from Glasgow.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1966 to 1979.
I'm losing my edge.
To all the kids in Bremen and Copenhagen.
I'm losing my edge to the art-school Madrid 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 Donald Fagen 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 Sam Rivers to the grime 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 Blossom Toes. All the underground hits.
All The Mojo Men tracks. I heard you have a vinyl of every Slave record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a the Slits record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fall,
Lou Christie,
Suburban Knight,
Scrapy,
Deepchord,
Television,
Swell Maps,
Bush Tetras,
Rufus Thomas,
Loose Ends,
Lou Reed & John Cale,
The J.B.'s,
Boredoms,
Brass Construction,
Electric Prunes,
Clear Light,
The Gories,
Skriet,
Cal Tjader,
OOIOO,
Mandrill,
Marcia Griffiths,
The Raincoats,
Dorothy Ashby,
The Names,
Terrestrial Tones,
Motorama,
Camron Feat. Memphis Bleek And Beenie Seigel,
A Certain Ratio,
Kerri Chandler,
Derrick May,
Pete Rock & C.L. Smooth,
Essential Logic,
The Gun Club,
The Grass Roots,
Outsiders,
Zapp,
The Alarm Clocks,
The Blues Magoos,
Joyce Sims,
Ossler,
Joe Smooth,
Pierre Henry,
Neu!,
Flamin' Groovies,
Art Ensemble Of Chicago,
Avey Tare & Kría Brekkan,
Idris Muhammad,
Chrome,
Surgeon,
Bob Dylan,
Delta 5,
Al Stewart,
The Golliwogs,
The Stooges,
New York Dolls,
Steve Hackett,
Ultramagnetic MC's,
Jerry Gold Smith,
The Blackbyrds, The Blackbyrds, The Blackbyrds, The Blackbyrds.
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.