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 Afghanistan and from Toronto.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Shanghai.
I'm losing my edge to the art-school Shanghai 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 arpeggiator 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 Slave to the punk kids.
I played it at CBGB's.
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 Index. All the underground hits.
All Kenny Larkin tracks. I heard you have a vinyl of every Sun Ra 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 '60s cut and another box set from the '90s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Flesh Eaters 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?
Deutsch Amerikanische Freundschaft,
Judy Mowatt,
Los Fastidios,
Nirvana,
The Jesus and Mary Chain,
Stiv Bators,
Mad Mike,
The Searchers,
Brick,
Robert Wyatt,
Pharoah Sanders,
Gang Starr,
Magma,
Tomorrow,
Sunsets and Hearts,
The Techniques,
Pere Ubu,
A Certain Ratio,
UT,
The Grass Roots,
Sight & Sound,
Q and Not U,
Swell Maps,
Livin' Joy,
Nik Kershaw,
H. Thieme,
Jandek,
Arcadia,
Brass Construction,
The Gun Club,
Radio Birdman,
Echospace,
Robert Hood,
Lou Christie,
The Fall,
Boredoms,
David McCallum,
Half Japanese,
X-Ray Spex,
Guru Guru,
Wally Richardson,
Rakim,
The Mighty Diamonds,
Traffic Nightmare,
Scan 7,
Chrome,
Lee Hazlewood,
Echo & the Bunnymen,
Suicide,
Technova,
Graham Central Station,
The Offenders,
Youth Brigade,
Nils Olav,
Peter Gordon & Love of Life Orchestra,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Vaughan Mason & Crew,
Camron Feat. Memphis Bleek And Beenie Seigel,
Lonnie Liston Smith,
Big Daddy Kane,
John Coltrane,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.