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 Uruguay and from Halifax.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Columbus and Copenhagen.
I'm losing my edge to the art-school Glasgow 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 güiro sounds with much patience.
I was there when Robert Palmer 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 Marc Almond to the crunk kids.
I played it at Trash.
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 Gang of Four. All the underground hits.
All The Mojo Men tracks. I heard you have a vinyl of every The Star Department record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Toni Rubio record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Niagra,
The Angels of Light,
Lee Hazlewood,
Boogie Down Productions,
Technova,
Silicon Teens,
MDC,
Ornette Coleman,
Joey Negro,
Blake Baxter,
The Leaves,
Soft Cell,
John Foxx,
The Misunderstood,
Accadde A,
Delon & Dalcan,
Drive Like Jehu,
Ken Boothe,
Graham Central Station,
Flash Fearless,
Motorama,
Nico,
Minny Pops,
The Pretty Things,
Toni Rubio,
Carl Craig,
John Cale,
Hoover,
Absolute Body Control,
Deepchord,
Public Image Ltd.,
Nick Cave & The Bad Seeds,
Marshall Jefferson,
The Trojans,
Sly & The Family Stone,
New Age Steppers,
Kas Product,
Rosa Yemen,
Chris Corsano,
Infiniti,
Crispy Ambulance,
Orchestral Manoeuvres in the Dark,
Suicide,
Neil Young,
The Mighty Diamonds,
The Smiths,
Skriet,
Bobby Womack,
Reuben Wilson,
Quantec,
Yusef Lateef,
Gil Scott Heron,
Parry Music,
Oneida,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Notorious BIG live in Amsterdam,
The Toasters,
Whodini,
The Litter,
The Neon Judgement,
Amazonics, Amazonics, Amazonics, Amazonics.
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.