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 Greece and from Johannesburg.
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 1965 to 1973.
I'm losing my edge.
To all the kids in New York and Toronto.
I'm losing my edge to the art-school Accra 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 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 the Fania All-Stars to the funk kids.
I played it at the Troubador.
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 Magazine. All the underground hits.
All Public Enemy tracks. I heard you have a vinyl of every Organ record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Electric Light Orchestra 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?
KRS-One,
La Düsseldorf,
The Chocolate Watch Band,
Marc Almond,
Scan 7,
Brand Nubian,
Gabor Szabo,
A Certain Ratio,
Sixth Finger,
Tears for Fears,
Moebius,
Marvin Gaye,
Isaac Hayes,
Sexual Harrassment,
Orchestral Manoeuvres in the Dark,
Grandmaster Flash,
Minutemen,
R.M.O.,
Essential Logic,
The Star Department,
Pharaoh Sanders and the Fire Engines,
The Kinks,
The Sound,
Hasil Adkins,
Bootsy's Rubber Band,
Babytalk,
Byron Stingily,
Cal Tjader,
Kango’s Stein Massive,
New York Dolls,
Curtis Mayfield,
The Misunderstood,
Jimmy McGriff,
The West Coast Pop Art Experimental Band,
Dawn Penn,
Sam Rivers,
Lafayette Afro Rock Band,
Junior Murvin,
Gichy Dan,
Ultramagnetic MC's,
James Chance & The Contortions,
Carl Craig,
Pylon,
Roxy Music,
Jacques Brel,
Eden Ahbez,
Jeff Mills,
The Victims,
Television Personalities,
Severed Heads,
Scott Walker + Sunn O))),
DJ Style,
Henry Cow,
Young Marble Giants,
Marshall Jefferson,
Rowland S Howard / Lydia Lunch,
Arab on Radar,
Alice Coltrane,
Rapeman,
Liliput,
Swans,
PIL, PIL, PIL, PIL.
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.