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 Montenegro and from Stockholm.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Manchester and Milan.
I'm losing my edge to the art-school Glasgow 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 Mistral practice in a loft in Amsterdam.
I was working on the guitar 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 Moss Icon to the jazz kids.
I played it at the Crocodile.
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 Cabaret Voltaire tracks. I heard you have a vinyl of every Gil Scott-Heron and Jamie xx record on German import.
I heard that you have a white label of every seminal electroclash 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 an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a a-ha record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
KRS-One,
Jacob Miller,
Echospace,
Gil Scott-Heron & Brian Jackson,
Index,
Robert Wyatt,
Bobby Hutcherson,
Los Fastidios,
Cal Tjader,
Severed Heads,
The Birthday Party,
Chris & Cosey,
Barclay James Harvest,
EPMD,
The Index,
Drive Like Jehu,
Fluxion,
Panda Bear,
Lucky Dragons,
Grandmaster Flash,
Fort Wilson Riot,
Barbara Tucker,
Deadbeat,
Pylon,
Matthew Bourne,
Matthew Halsall,
Masters at Work,
The Saints,
Eric Dolphy,
New Order,
Mad Mike,
World's Most,
Scientists,
The Leaves,
Essential Logic,
Mo-Dettes,
Marvin Gaye,
The Fuzztones,
K-Klass,
Aloha Tigers,
Bobby Byrd,
Ludus,
The Young Rascals,
Ronnie Foster,
Sparks,
Ajijia Myrayebe,
Nico,
the Human League,
Excepter,
Gong,
Albert Ayler,
Procol Harum,
Johnny Osbourne,
Janne Schatter,
Kerrie Biddell,
Bluetip,
DJ Sneak,
Television,
Aaron Thompson,
Vainqueur,
Malaria!,
Blancmange,
Royal Trux, Royal Trux, Royal Trux, Royal Trux.
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.