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 Italy and from Portland.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1972.
I'm losing my edge.
To all the kids in Cairo and Johannesburg.
I'm losing my edge to the art-school Lyon 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 sitar 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 Charles Mingus to the jazz 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 Letta Mbulu. All the underground hits.
All The Trojans tracks. I heard you have a vinyl of every Crash Course in Science record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s 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 Prince Buster record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Essential Logic,
Lightning Bolt,
The Fire Engines,
Ultra Naté,
The Dead C,
Fear,
Bizarre Inc.,
James White and The Blacks,
Pulsallama,
Scrapy,
Kerrie Biddell,
Das Ding,
The United States of America,
Kool Moe Dee,
Qualms,
Suicide,
Tommy Roe,
Model 500,
Piero Umiliani,
Marshall Jefferson,
Bronski Beat,
Suburban Knight,
The New Christs,
John Coltrane,
Frankie Knuckles,
Faust,
Gang Starr,
Eden Ahbez,
The Remains,
Colin Newman,
Simply Red,
Organ,
The Beau Brummels,
Amazonics,
Barbara Tucker,
Radiopuhelimet,
Kas Product,
Pet Shop Boys,
Smog,
Gang Gang Dance,
Glambeats Corp.,
Charles Mingus,
Notorious Big And Bone Thugs,
The Gap Band,
The Kinks,
Procol Harum,
Minutemen,
Porter Ricks,
Wighnomy Brothers & Robag Wruhme,
The Alarm Clocks,
Visage,
N.O.R.E. Featuring Pharrell,
kango's stein massive,
Joensuu 1685,
Rhythim Is Rhythim,
Trumans Water,
Lou Reed & Metallica,
Minor Threat,
Graham Central Station,
Masters at Work,
Agitation Free,
The Fugs,
Nik Kershaw, Nik Kershaw, Nik Kershaw, Nik Kershaw.
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.