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 Winnipeg.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Lille and Milan.
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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the sitar sounds with much patience.
I was there when David Bowie 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 Roy Ayers to the electroclash 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 Bobbi Humphrey. All the underground hits.
All Ken Boothe tracks. I heard you have a vinyl of every Idris Muhammad 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 '50s cut and another box set from the '80s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Theoretical Girls record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Jesus and Mary Chain,
Kenny Larkin,
Black Sheep,
The Cramps,
The Happenings,
Fifty Foot Hose,
Eric B and Rakim,
Altered Images,
Johnny Osbourne,
Henry Cow,
Jesper Dahlback,
Kurtis Blow,
Stiv Bators,
The Trojans,
Brand Nubian,
The Gun Club,
Von Mondo,
Subhumans,
Rapeman,
Kool G Rap & DJ Polo,
H. Thieme,
Monks,
Red Lorry Yellow Lorry,
Joyce Sims,
The Offenders,
Silicon Teens,
X-101,
Josef K,
Bauhaus,
Gil Scott-Heron & Brian Jackson,
Sight & Sound,
Bill Wells,
Jacques Brel,
Spandau Ballet,
Notorious Big And Bone Thugs,
DJ Sneak,
Althea and Donna,
Brothers Johnson,
Glambeats Corp.,
Supertramp,
T.S.O.L.,
The Evens,
CMW,
Donny Hathaway,
Gerry Rafferty,
Darondo,
Boredoms,
Japan,
Ornette Coleman,
Howard Jones,
Index,
Bootsy Collins,
Avey Tare & Kría Brekkan,
Groovy Waters,
Davy DMX,
Al Stewart,
Underground Resistance,
Sun Ra, Sun Ra, Sun Ra, Sun Ra.
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.