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 Kuwait and from Manchester.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Woodstock and Shanghai.
I'm losing my edge to the art-school Halifax 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 marimba sounds with much patience.
I was there when Nile Rodgers 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 Outsiders to the punk kids.
I played it at the Troubador.
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 Outsiders. All the underground hits.
All The Beau Brummels tracks. I heard you have a vinyl of every Young Marble Giants record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Darondo record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deakin,
Byron Stingily,
Spandau Ballet,
Bill Wells,
LL Cool J,
Charles Mingus,
This Heat,
Yellowson,
Dead Boys,
Bronski Beat,
Deepchord,
Sister Nancy,
Red Lorry Yellow Lorry,
The Cramps,
Lucky Dragons,
Gang of Four,
Yusef Lateef,
Brick,
Amon Düül,
Jesper Dahlbäck,
The Monks,
Peter & Gordon,
DJ Sneak,
Maurizio,
The Cowsills,
John Holt,
Cal Tjader,
K-Klass,
Circle Jerks,
The Fire Engines,
Roger Hodgson,
Frankie Knuckles,
Mad Mike,
Fifty Foot Hose,
Wally Richardson,
The Shadows of Knight,
Sam Rivers,
The Last Poets,
Sparks,
Little Man,
Danielle Patucci,
Model 500,
KRS-One,
Marc Romboy vs. Booka Shade,
The Victims,
Nick Fraelich,
Alison Limerick,
Smog,
Talk Talk,
Dave Gahan,
New York Dolls,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Buckinghams,
The Slits,
Gang Green,
Fluxion,
Crispian St. Peters,
Sixth Finger,
Brand Nubian,
Colin Newman,
Interpol,
Jacob Miller,
Funky Four + One,
Essential Logic, Essential Logic, Essential Logic, Essential Logic.
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.