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 Russia and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 Hong Kong and Lyon.
I'm losing my edge to the art-school London 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 mellotron 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 Kerri Chandler to the grunge kids.
I played it at the Crocodile.
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 Cecil Taylor. All the underground hits.
All Gil Scott-Heron and Jamie xx tracks. I heard you have a vinyl of every Eurythmics 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 '80s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Mills,
Max Romeo,
The Sound,
Rod Modell,
Soul II Soul,
Thee Headcoats,
Von Mondo,
the Association,
Fluxion,
Jeff Lynne,
Quando Quango,
Lafayette Afro Rock Band,
X-101,
Kango’s Stein Massive,
Amon Düül II,
Gil Scott-Heron and Jamie xx,
Quadrant,
Mars,
Visionaries,LMNO, T- Love & Iriscience,
Dual Sessions,
Gichy Dan,
The Raincoats,
Charles Mingus,
Procol Harum,
Bobby Hutcherson,
Section 25,
Scrapy,
James Chance & The Contortions,
Can,
Radiohead,
The Residents,
Royal Trux,
The Electric Prunes,
Roger Hodgson,
Parry Music,
Stereo Dub,
Groovy Waters,
Heavy D & The Boyz,
Pharoah Sanders,
Kevin Saunderson,
Bobby Womack,
Motorama,
The Victims,
Siglo XX,
John Lydon,
Heaven 17,
Marc Almond,
the Sonics,
Moebius,
Electric Light Orchestra,
Orchestral Manoeuvres in the Dark,
Unrelated Segments,
Roy Ayers,
Lucky Dragons,
Wally Richardson,
Rapeman,
Robert Hood,
Howard Jones,
The Busters,
Lou Christie,
Barclay James Harvest,
Hoover,
Selector Dub Narcotic,
June Days, June Days, June Days, June Days.
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.