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 Cyprus and from Salvador.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Tehran and Milan.
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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the rhodes 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 Skriet to the disco kids.
I played it at Trash.
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 Mad Mike. All the underground hits.
All The Monks tracks. I heard you have a vinyl of every Trumans Water record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Severed Heads,
EPMD,
Goldenarms,
10cc,
The Move,
Selector Dub Narcotic,
Archie Shepp,
Crispy Ambulance,
Joy Division,
48th St. Collective,
Shoche,
David Axelrod,
These Immortal Souls,
Arcadia,
Main Source,
Todd Rundgren,
Kas Product,
Intrusion,
Man Eating Sloth,
Robert Wyatt,
the Soft Cell,
DNA,
Metal Thangz,
Judy Mowatt,
Bobby Byrd,
Roxette,
The Monks,
the Fania All-Stars,
Unrelated Segments,
John Coltrane,
Gang Starr,
The Saints,
John Holt,
Mission of Burma,
Pantytec,
Bob Dylan,
Nas,
Louis and Bebe Barron,
Harpers Bizarre,
Maleditus Sound,
Soulsonic Force,
New York Dolls,
Mark Hollis,
Popol Vuh,
Amon Düül,
Major Organ And The Adding Machine,
New Order,
Kurtis Blow,
Gian Franco Pienzio,
Nico,
The Gladiators,
Desert Stars,
Boogie Down Productions,
Camberwell Now,
Lucky Dragons,
Joe Finger,
Unwound,
Bauhaus,
The Beau Brummels,
Kenny Larkin,
Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts.
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.