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 Comoros and from London.
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 1975.
I'm losing my edge.
To all the kids in Woodstock and Hong Kong.
I'm losing my edge to the art-school Cairo 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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 JFA 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 Sam Rivers. All the underground hits.
All John Holt tracks. I heard you have a vinyl of every Kool G Rap & DJ Polo 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 '50s cut and another box set from the '80s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Newcleus record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
Ten City,
Mary Jane Girls,
ABBA,
X-102,
John Foxx,
The Buckinghams,
Graham Central Station,
London Community Gospel Choir,
T. Rex,
Johnny Osbourne,
Cecil Taylor,
Agitation Free,
Marvin Gaye,
UT,
The Sisters of Mercy,
The Move,
Depeche Mode,
A Flock of Seagulls,
Dennis Brown,
Q and Not U,
The Fire Engines,
The Monks,
Matthew Halsall,
Pantaleimon,
Barry Ungar,
Cluster,
Maurizio,
Danielle Patucci,
Half Japanese,
China Crisis,
Skarface,
Ornette Coleman,
Robert Wyatt,
Subhumans,
Blancmange,
Strawberry Alarm Clock,
Super Lover Cee & Casanova Rud,
Ralphi Rosario,
Echo & the Bunnymen,
Terrestrial Tones,
The Standells,
Moebius,
Deadbeat,
8 Eyed Spy,
Dark Day,
Sandy B,
Alton Ellis,
Intrusion,
Warsaw,
Bluetip,
Lafayette Afro Rock Band,
Teenage Jesus and the Jerks,
Fatback Band,
Oneida,
Scion,
The Shadows of Knight,
Traffic Nightmare,
Infiniti,
Public Image Ltd.,
Morten Harket,
Barclay James Harvest,
Donald Byrd, Donald Byrd, Donald Byrd, Donald Byrd.
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.