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 United States and from Salvador.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Bremen and Lagos.
I'm losing my edge to the art-school Manchester 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 synthesizer 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 Kango’s Stein Massive to the rap kids.
I played it at the 40 Watt.
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 Rahsaan Roland Kirk. All the underground hits.
All Negative Approach tracks. I heard you have a vinyl of every DNA record on German import.
I heard that you have a white label of every seminal disco 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 guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Porter Ricks record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lucky Dragons,
The West Coast Pop Art Experimental Band,
Soulsonic Force,
Robert Wyatt,
Dead Boys,
Kerrie Biddell,
Morten Harket,
New York Dolls,
Section 25,
Joensuu 1685,
Sexual Harrassment,
48th St. Collective,
Skarface,
Barbara Tucker,
The Walker Brothers,
Scrapy,
Eyeless In Gaza,
Liaisons Dangereuses,
Jacob Miller,
Scientists,
Strawberry Alarm Clock,
The Mighty Diamonds,
10cc,
Avey Tare,
Subhumans,
Patti Smith,
Yazoo,
L. Decosne,
Richard Hell and the Voidoids,
Cheater Slicks,
Motorama,
the Swans,
Pete Rock & C.L. Smooth,
Aural Exciters,
Röyhkä ja Rättö ja Lehtisalo,
K-Klass,
Prince Buster,
Johnny Clarke,
Index,
8 Eyed Spy,
Echo & the Bunnymen,
Swell Maps,
Fear,
Dave Gahan,
Youth Brigade,
The Jesus and Mary Chain,
The Gap Band,
Amazonics,
Con Funk Shun,
It's A Beautiful Day,
Saccharine Trust,
B.T. Express,
Gil Scott-Heron and Jamie xx,
Charles Mingus,
Yellowson,
Rufus Thomas,
Crispian St. Peters,
The Invisible,
Notorious BIG live in Amsterdam,
Ultramagnetic MC's,
Mad Mike, Mad Mike, Mad Mike, Mad Mike.
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.