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 Niger and from Seoul.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Paris and Lyon.
I'm losing my edge to the art-school Accra 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 sitar sounds with much patience.
I was there when Donald Fagen 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 Gun Club to the disco kids.
I played it at CBGB's.
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 Traffic Nightmare. All the underground hits.
All Strawberry Alarm Clock tracks. I heard you have a vinyl of every Reagan Youth record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Rosa Yemen record.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Graham Central Station,
Japan,
UT,
Robert Görl,
Animal Collective,
Young Marble Giants,
Cabaret Voltaire,
Kerrie Biddell,
Q and Not U,
John Coltrane,
Alton Ellis,
Gichy Dan,
Little Man,
Glambeats Corp.,
Cameo,
The Tremeloes,
Aloha Tigers,
Television Personalities,
The Last Poets,
Saccharine Trust,
Agitation Free,
Gabor Szabo,
Lou Reed,
Heaven 17,
Fugazi,
Joensuu 1685,
The Flesh Eaters,
The Fire Engines,
Crispy Ambulance,
The Golliwogs,
Bobby Byrd,
Wolf Eyes,
Ronan,
Lebanon Hanover,
Fifty Foot Hose,
Motorama,
China Crisis,
Scientists,
Mo-Dettes,
Pharaoh Sanders and the Fire Engines,
The Mighty Diamonds,
Neil Young & Crazy Horse,
Gang Starr,
the Soft Cell,
The Modern Lovers,
The Doobie Brothers,
R.M.O.,
Liaisons Dangereuses,
The Misunderstood,
Sandy B,
World's Most,
Shuggie Otis,
The Cosmic Jokers,
EPMD,
Connie Case,
Make Up,
Whodini,
Masters at Work,
Sonic Youth,
Susan Cadogan,
Piero Umiliani,
the Slits, the Slits, the Slits, the Slits.
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.