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 the UAE and from Lagos.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Houston and Bremen.
I'm losing my edge to the art-school Johannesburg 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Mr. Review to the funk kids.
I played it at the Troubador.
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 Flipper. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Sound Behaviour 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 '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Ultramagnetic MC's record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
KRS-One,
Eli Mardock,
Big Daddy Kane,
China Crisis,
Skaos,
Brass Construction,
The Busters,
Gary Puckett & The Union Gap,
Minutemen,
Rod Modell,
Eric Dolphy,
Anthony Braxton,
The Happenings,
The Barracudas,
CMW,
ABBA,
Blossom Toes,
Dark Day,
The Neon Judgement,
Lou Reed,
Rosa Yemen,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Jesper Dahlback,
Gil Scott-Heron and Jamie xx,
Lyres,
Easy Going,
Q65,
Minor Threat,
Lou Christie,
The Divine Comedy,
John Holt,
Flamin' Groovies,
The Moleskins,
Kayak,
Pierre Henry,
Talk Talk,
Charles Mingus,
Notorious BIG live in Amsterdam,
Neil Young,
Henry Cow,
The Electric Prunes,
the Bar-Kays,
Darondo,
Loose Ends,
Second Layer,
Ultimate Spinach,
Yusef Lateef,
Blancmange,
The Motions,
Outsiders,
Alison Limerick,
Isaac Hayes,
Lou Reed & Metallica,
Bizarre Inc.,
Curtis Mayfield,
Sunsets and Hearts,
The Fire Engines,
Alphaville,
The Velvet Underground,
DJ Sneak,
The Wake,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.