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 Togo and from New York.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Toronto and Stockholm.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the güiro 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 Clear Light to the grime 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 Junior Murvin. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Soft Machine 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 snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Chris & Cosey,
Clear Light,
EPMD,
The Fire Engines,
The Slits,
Lower 48,
Con Funk Shun,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Techniques,
Curtis Mayfield,
Liliput,
Saccharine Trust,
Wire,
Donald Byrd,
Barclay James Harvest,
Major Organ And The Adding Machine,
David McCallum,
John Holt,
H. Thieme,
Goldenarms,
Faraquet,
Idris Muhammad,
X-Ray Spex,
Angry Samoans,
Bluetip,
Bob Dylan,
Gil Scott-Heron and Jamie xx,
Slave,
Sex Pistols,
Marc Romboy vs. Booka Shade,
a-ha,
The Sound,
The Buckinghams,
Amazonics,
Super Lover Cee & Casanova Rud,
Pierre Henry,
ABC,
Quantec,
The Vogues,
Gichy Dan,
Neil Young,
Urselle,
The Tremeloes,
Sun City Girls,
Jerry Gold Smith,
The Dirtbombs,
The Litter,
Country Joe & The Fish,
Terrestrial Tones,
The Wake,
Leonard Cohen,
The Dead C,
Dave Gahan,
Ajijia Myrayebe,
Ten City,
Justin Hinds & The Dominoes,
The Alarm Clocks,
E-Dancer,
The Count Five,
Shoche,
Peter Gordon & Love of Life Orchestra,
Absolute Body Control,
Au Pairs, Au Pairs, Au Pairs, Au Pairs.
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.