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 Bulgaria and from Toronto.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Beijing and Toronto.
I'm losing my edge to the art-school Spokane 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Masters at Work to the jazz 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 La Düsseldorf. All the underground hits.
All The Motions tracks. I heard you have a vinyl of every Jacob Miller record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an organ and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Rites of Spring record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
T. Rex,
Man Eating Sloth,
Andrew Hill,
the Germs,
Spandau Ballet,
Morten Harket,
Beasts of Bourbon,
Blossom Toes,
The Durutti Column,
Bang On A Can,
Reagan Youth,
Piero Umiliani,
Albert Ayler,
Sällskapet,
Simply Red,
Inner City,
Tears for Fears,
The Invisible,
Silicon Teens,
The New Christs,
Sister Nancy,
Eric Copeland,
The Vogues,
Japan,
Frankie Knuckles,
Traffic Nightmare,
Deakin,
Moebius,
8 Eyed Spy,
David Bowie,
It's A Beautiful Day,
Black Moon,
Echo & the Bunnymen,
Mars,
Ultimate Spinach,
Ornette Coleman,
Funkadelic,
Camberwell Now,
Lyres,
The Jesus and Mary Chain,
Underground Resistance,
Nik Kershaw,
Essential Logic,
Pantytec,
Desert Stars,
Ossler,
LL Cool J,
Scion,
The Gun Club,
F. McDonald,
Kool G Rap & DJ Polo,
Ken Boothe,
Eurythmics,
Junior Murvin,
Grandmaster Flash and the Furious Five,
The Cramps,
The Names,
The Fall,
Mandrill,
Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux.
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.