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 Austria and from Stockholm.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Beijing and Spokane.
I'm losing my edge to the art-school Tokyo 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 mellotron 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 the Association to the rap kids.
I played it at the Troubador.
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 Angry Samoans. All the underground hits.
All Tres Demented tracks. I heard you have a vinyl of every Ken Boothe record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Pus,
The Alarm Clocks,
Kings Of Tomorrow,
Gregory Isaacs,
Eric Copeland,
Radiohead,
The Sonics,
Camberwell Now,
The Sisters of Mercy,
Audionom,
The Trojans,
Ash Ra Tempel,
Moby Grape,
The Real Kids,
Marc Romboy vs. Booka Shade,
Girls At Our Best!,
Scrapy,
Grey Daturas,
Jerry's Kids,
The Misunderstood,
Sixth Finger,
The Beau Brummels,
Stetsasonic,
Drexciya,
Rowland S Howard / Lydia Lunch,
Ponytail,
Spoonie Gee,
Unrelated Segments,
48th St. Collective,
Roy Ayers,
Janne Schatter,
The Slits,
The Star Department,
Cecil Taylor,
Fear,
Howard Jones,
Negative Approach,
Pierre Henry,
Franke,
Bill Near,
Bootsy's Rubber Band,
Theoretical Girls,
Isaac Hayes,
Severed Heads,
The Kinks,
Nico,
Glambeats Corp.,
Peter and Kerry,
Sparks,
The Offenders,
The Cramps,
Easy Going,
Skarface,
The Doobie Brothers,
Nas,
Arthur Verocai,
Mantronix,
Blossom Toes,
Supertramp,
Scratch Acid,
Massinfluence,
The Move, The Move, The Move, The Move.
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.