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 Nauru and from Copenhagen.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Halifax and Spokane.
I'm losing my edge to the art-school Milan 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Loose Ends to the jazz 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 Eli Mardock. All the underground hits.
All Fatback Band tracks. I heard you have a vinyl of every The Walker Brothers 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 '80s cut and another box set from the '80s.
I hear you're buying a rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Man Eating Sloth record.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Red Lorry Yellow Lorry,
Gil Scott-Heron and Jamie xx,
The Cure,
The Happenings,
Alton Ellis,
The Chocolate Watch Band,
The Star Department,
Clear Light,
Soul Sonic Force,
Arcadia,
The Motions,
The Cowsills,
Electric Prunes,
Derrick May,
the Bar-Kays,
The Blues Magoos,
The Index,
Stockholm Monsters,
The Toasters,
Althea and Donna,
Kool Moe Dee,
Negative Approach,
June Days,
Bobby Womack,
the Normal,
Bootsy Collins,
Grey Daturas,
This Heat,
Eden Ahbez,
Bob Dylan,
The Wake,
Cybotron,
Skaos,
Oblivians,
Kaleidoscope,
Albert Ayler,
Simply Red,
Rekid,
Lakeside,
Country Teasers,
Hasil Adkins,
Joey Negro,
Kenny Larkin,
The Searchers,
Silicon Teens,
Bronski Beat,
Peter & Gordon,
Eyeless In Gaza,
The Peanut Butter Conspiracy,
Roger Hodgson,
The West Coast Pop Art Experimental Band,
Matthew Halsall,
Selector Dub Narcotic,
Slave,
Liliput,
Stereo Dub,
Adolescents,
Slick Rick,
Delon & Dalcan,
It's A Beautiful Day,
Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs.
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.