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 Jamaica and from Copenhagen.
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 1963 to 1975.
I'm losing my edge.
To all the kids in London and Portland.
I'm losing my edge to the art-school Manchester 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 Nile Rodgers 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 The New Christs to the dance kids.
I played it at the Crocodile.
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 Donald Byrd. All the underground hits.
All Kevin Saunderson tracks. I heard you have a vinyl of every Lou Reed 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 clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Lebanon Hanover record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bush Tetras,
Fugazi,
The Remains,
Anakelly,
Scrapy,
Angry Samoans,
Harpers Bizarre,
Dr. Dre and Snoop Doggy Dog,
Magma,
Johnny Osbourne,
Robert Wyatt,
JFA,
Marmalade,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Anthony Braxton,
Young Marble Giants,
Ituana,
Yaz,
Roger Hodgson,
The Pop Group,
The United States of America,
Selector Dub Narcotic,
The Chocolate Watch Band,
Shoche,
UT,
Crash Course in Science,
Brand Nubian,
Lakeside,
Siglo XX,
The Grass Roots,
June of 44,
Glenn Branca,
Rhythm & Sound,
Dawn Penn,
Magazine,
Wighnomy Brothers & Robag Wruhme,
the Sonics,
Half Japanese,
Soulsonic Force,
Bluetip,
Little Man,
The Misunderstood,
Kurtis Blow,
Ornette Coleman,
The Sonics,
Nick Fraelich,
Sun City Girls,
Animal Collective,
Eric Dolphy,
Lucky Dragons,
A Certain Ratio,
Shuggie Otis,
Ten City,
Delon & Dalcan,
Avey Tare's Slasher Flicks,
Organ,
Black Pus,
The Durutti Column,
Big Daddy Kane,
Black Bananas,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.