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 Guatemala and from Tokyo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1978.
I'm losing my edge.
To all the kids in Mexico City and Lagos.
I'm losing my edge to the art-school Sao Paulo 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 De La Soul & Jungle Brothers to the rock 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 R.M.O.. All the underground hits.
All Alphaville tracks. I heard you have a vinyl of every Ultravox record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
KRS-One,
Toni Rubio,
Bobby Byrd,
Nick Cave & The Bad Seeds,
Flash Fearless,
Half Japanese,
Minny Pops,
Warsaw,
Mark Hollis,
Gabor Szabo,
Gong,
Scion,
Black Sheep,
Aloha Tigers,
The Index,
Joe Finger,
The Remains,
Bauhaus,
Swell Maps,
Black Moon,
Grauzone,
Fear,
Kayak,
Sam Rivers,
Kool Moe Dee,
The Seeds,
Motorama,
The Pop Group,
Carl Craig,
London Community Gospel Choir,
Kas Product,
Nils Olav,
In Retrospect,
The Names,
The Happenings,
The Dirtbombs,
Neil Young,
Echo & the Bunnymen,
Malaria!,
Sad Lovers and Giants,
The Fortunes,
The Royal Family And The Poor,
Minor Threat,
Gichy Dan,
Average White Band,
The Monochrome Set,
The Gun Club,
Babytalk,
Bootsy Collins,
Second Layer,
Television Personalities,
Popol Vuh,
Livin' Joy,
Ornette Coleman,
Mr. Review,
Kurtis Blow,
Das Ding,
Sexual Harrassment,
The Velvet Underground,
Yaz,
Lebanon Hanover,
Joe Smooth,
Wally Richardson,
Lindisfarne, Lindisfarne, Lindisfarne, Lindisfarne.
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.