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 France and from Milan.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Paris.
I'm losing my edge to the art-school Bologna 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the clarinet 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 Scientists to the rock kids.
I played it at Cafe Wha.
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 Fifty Foot Hose. All the underground hits.
All Rosa Yemen tracks. I heard you have a vinyl of every Minor Threat 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 '80s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers record.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hashim,
Rapeman,
Junior Murvin,
Negative Approach,
New Age Steppers,
KRS-One,
Lalo Schifrin,
Supertramp,
T. Rex,
Country Joe & The Fish,
Strawberry Alarm Clock,
Robert Wyatt,
E-Dancer,
Don Cherry,
Interpol,
Khruangbin,
U.S. Maple,
Sparks,
Black Pus,
Robert Görl,
EPMD,
T.S.O.L.,
Frankie Knuckles,
Lou Reed & John Cale,
Eyeless In Gaza,
Derrick May,
Boz Scaggs,
Popol Vuh,
Marcia Griffiths,
Slave,
Kas Product,
The Gap Band,
A Certain Ratio,
Sex Pistols,
The West Coast Pop Art Experimental Band,
The Invisible,
The Tremeloes,
Lungfish,
The Blackbyrds,
The Moody Blues,
Swell Maps,
Piero Umiliani,
Con Funk Shun,
Suicide,
Albert Ayler,
Section 25,
Half Japanese,
Althea and Donna,
Black Bananas,
Minnie Riperton,
The Techniques,
Schoolly D,
David Axelrod,
Nick Fraelich,
Fugazi,
Mo-Dettes,
AZ,
The Pop Group,
Sun Ra,
Man Parrish,
The United States of America,
the Association,
Yazoo, Yazoo, Yazoo, Yazoo.
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.