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 Hong Kong.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1969 to 1973.
I'm losing my edge.
To all the kids in London 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 1984 at the first Arcadia practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Captain Beefheart 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 Nas to the electroclash 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 DNA. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every X-102 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 '80s cut and another box set from the '80s.
I hear you're buying a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jimmy McGriff,
Soft Machine,
The Beau Brummels,
Piero Umiliani,
A Flock of Seagulls,
Archie Shepp,
The Invisible,
Crime,
Neil Young,
Man Parrish,
Chris Corsano,
The Gladiators,
Mission of Burma,
Brass Construction,
Adolescents,
The Standells,
Electric Prunes,
The Fall,
Metal Thangz,
Stetsasonic,
Kool Moe Dee,
the Association,
Boz Scaggs,
Derrick May,
Goldenarms,
Strawberry Alarm Clock,
Terry Callier,
Kool G Rap & DJ Polo,
Max Romeo,
OOIOO,
Motorama,
Television,
Ken Boothe,
Eyeless In Gaza,
A Certain Ratio,
Lower 48,
The Human League,
The Associates,
Pussy Galore,
Lou Christie,
The Toasters,
Heaven 17,
Tim Buckley,
Man Eating Sloth,
Tres Demented,
Juan Atkins,
Eli Mardock,
Rod Modell,
Joe Smooth,
Robert Görl,
The United States of America,
The Modern Lovers,
Minnie Riperton,
Kerrie Biddell,
Ronan,
Roy Ayers,
June of 44,
Blake Baxter,
Beasts of Bourbon,
Connie Case,
Camberwell Now,
Gichy Dan, Gichy Dan, Gichy Dan, Gichy Dan.
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.