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 Libya and from Hong Kong.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1979.
I'm losing my edge.
To all the kids in Mumbai and London.
I'm losing my edge to the art-school Tehran 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the rhodes sounds with much patience.
I was there when Robert Palmer 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 Shuggie Otis to the rap 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 Slave. All the underground hits.
All Siglo XX tracks. I heard you have a vinyl of every Crime record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a T. Rex 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 White and The Blacks,
Chris Corsano,
DNA,
The Pop Group,
Cal Tjader,
The Saints,
Art Ensemble Of Chicago,
The Vogues,
Moby Grape,
Gabor Szabo,
Lebanon Hanover,
The Mighty Diamonds,
The Chocolate Watch Band,
Index,
Ituana,
June of 44,
Judy Mowatt,
Wally Richardson,
This Heat,
Vaughan Mason & Crew,
Gerry Rafferty,
Sunsets and Hearts,
Maleditus Sound,
The Electric Prunes,
Maurizio,
Brick,
Henry Cow,
Derrick May,
Brass Construction,
The Buckinghams,
JFA,
Blancmange,
De La Soul & Jungle Brothers,
Subhumans,
Lou Reed & Metallica,
Roy Ayers,
Chrome,
Rowland S Howard / Lydia Lunch,
Ronan,
The Gun Club,
The Leaves,
The Residents,
Avey Tare,
Accadde A,
Arthur Verocai,
Con Funk Shun,
Major Organ And The Adding Machine,
The Cramps,
Aswad,
Rakim,
Pete Rock & C.L. Smooth,
The Royal Family And The Poor,
Smog,
Crispian St. Peters,
The Victims,
Orchestral Manoeuvres in the Dark,
Skarface,
Pussy Galore,
Janne Schatter,
The Blackbyrds,
Alton Ellis,
Terrestrial Tones,
Amazonics, Amazonics, Amazonics, Amazonics.
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.