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 Uganda 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 1968 to 1977.
I'm losing my edge.
To all the kids in Bologna and Mexico City.
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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the linndrum 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 Derrick Morgan to the dance kids.
I played it at the Spitz.
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 Nas. All the underground hits.
All Danielle Patucci tracks. I heard you have a vinyl of every The Busters record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Eve St. Jones record.
I hear that you and your band have sold your organ and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
World's Most,
The Durutti Column,
Smog,
Malaria!,
Second Layer,
The Royal Family And The Poor,
Simply Red,
Con Funk Shun,
The Sisters of Mercy,
Unwound,
James Chance & The Contortions,
Tomorrow,
New York Dolls,
Banda Bassotti,
Cybotron,
48th St. Collective,
Mandrill,
Goldenarms,
The Mighty Diamonds,
Sound Behaviour,
The Busters,
Echo & the Bunnymen,
The Chocolate Watch Band,
Saccharine Trust,
Zero Boys,
June of 44,
Tropical Tobacco,
Alice Coltrane,
Scratch Acid,
Dennis Brown,
The Velvet Underground,
Swell Maps,
The Leaves,
Gerry Rafferty,
Main Source,
PIL,
The Happenings,
Country Joe & The Fish,
the Association,
Moebius,
Jerry Gold Smith,
Kenny Larkin,
Curtis Mayfield,
Half Japanese,
Terrestrial Tones,
Cameo,
Dorothy Ashby,
The Trojans,
Deakin,
Lyres,
Yazoo,
Thee Headcoats,
Quadrant,
John Holt,
Deepchord,
Scientists,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Bronski Beat,
KRS-One,
JFA,
The Misunderstood,
This Heat, This Heat, This Heat, This Heat.
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.