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 Nigeria and from Copenhagen.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Milan and Tokyo.
I'm losing my edge to the art-school Hong Kong 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 1984 at the first Arcadia practice in a loft in London.
I was working on the clarinet sounds with much patience.
I was there when Nile Rodgers 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 Andrew Hill to the jazz kids.
I played it at the Spitz.
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 Sex Pistols. All the underground hits.
All The Misunderstood tracks. I heard you have a vinyl of every Bad Manners 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 '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Terror Squad Feat. Camron record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Music Machine,
the Swans,
The Alarm Clocks,
Art Ensemble Of Chicago,
Stereo Dub,
La Düsseldorf,
London Community Gospel Choir,
The Cosmic Jokers,
Avey Tare & Kría Brekkan,
Jesper Dahlbäck,
Bauhaus,
Albert Ayler,
Johnny Clarke,
Brick,
Cal Tjader,
These Immortal Souls,
Kerrie Biddell,
Echospace,
The Mummies,
Pierre Henry,
Sun Ra,
FM Einheit,
Tim Buckley,
Blancmange,
The Misunderstood,
X-102,
The Pop Group,
Negative Approach,
Stetsasonic,
Nation of Ulysses,
Roxy Music,
Barclay James Harvest,
John Holt,
Saccharine Trust,
New Age Steppers,
Major Organ And The Adding Machine,
Chris Corsano,
Lafayette Afro Rock Band,
Selector Dub Narcotic,
Ralphi Rosario,
Bad Manners,
Sly & The Family Stone,
The Tremeloes,
The Sound,
The Litter,
Outsiders,
Fugazi,
Nick Cave & The Bad Seeds,
Lebanon Hanover,
Yellowson,
Swans,
Scion,
Bob Dylan,
Zero Boys,
Bronski Beat,
Oppenheimer Analysis,
Banda Bassotti,
Strawberry Alarm Clock,
Todd Terry,
Eurythmics,
The Modern Lovers, The Modern Lovers, The Modern Lovers, The Modern Lovers.
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.