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 Korea South and from Jakarta.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Columbus and Halifax.
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 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 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 Au Pairs to the dance kids.
I played it at the Astoria.
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 The Birthday Party. All the underground hits.
All Make Up tracks. I heard you have a vinyl of every Marshall Jefferson record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Lydon,
Scratch Acid,
Nas,
Pylon,
The Wake,
Art Ensemble Of Chicago,
Sun Ra Arkestra,
The Residents,
R.M.O.,
Make Up,
Hardrive,
The West Coast Pop Art Experimental Band,
Kenny Larkin,
Selector Dub Narcotic,
Adolescents,
Althea and Donna,
Rowland S Howard / Lydia Lunch,
Guru Guru,
Rosa Yemen,
Ash Ra Tempel,
Carl Craig,
Soul Sonic Force,
Erasure,
Chrome,
The Doobie Brothers,
Gang Gang Dance,
London Community Gospel Choir,
Reuben Wilson,
Blake Baxter,
Easy Going,
Eyeless In Gaza,
Jeru the Damaja,
The Sonics,
Bronski Beat,
X-101,
Tears for Fears,
Big Daddy Kane,
Marvin Gaye,
The Real Kids,
8 Eyed Spy,
The Mummies,
Orchestral Manoeuvres in the Dark,
Surgeon,
John Cale,
Jawbox,
Dr. Dre and Snoop Doggy Dog,
X-Ray Spex,
Skarface,
PIL,
Q and Not U,
Derrick Morgan,
The Velvet Underground,
Fat Boys,
The Barracudas,
The Happenings,
Henry Cow,
Cheater Slicks,
Black Sheep,
Das Ding,
Rahsaan Roland Kirk,
Faraquet, Faraquet, Faraquet, Faraquet.
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.