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 Peru and from Tehran.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Tehran and Johannesburg.
I'm losing my edge to the art-school Houston 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Sugar Minott to the jazz 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 The Slits. All the underground hits.
All R.M.O. tracks. I heard you have a vinyl of every Charles Mingus record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Five Americans record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes 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?
Crime,
Notorious Big And Bone Thugs,
Kaleidoscope,
Dave Gahan,
Hashim,
Joey Negro,
Silicon Teens,
John Lydon,
Flamin' Groovies,
Josef K,
Marvin Gaye,
the Sonics,
Nick Fraelich,
Sun Ra,
Essential Logic,
Sound Behaviour,
Ultimate Spinach,
Roy Ayers,
Henry Cow,
Main Source,
Panda Bear,
Roxy Music,
Funky Four + One,
Chris & Cosey,
Bronski Beat,
K-Klass,
Bang on a Can All-Stars,
Be Bop Deluxe,
The Star Department,
Arthur Verocai,
Curtis Mayfield,
Scrapy,
Oppenheimer Analysis,
The Shadows of Knight,
The Moody Blues,
The Cramps,
Joensuu 1685,
Rahsaan Roland Kirk,
Chrome,
Sun Ra Arkestra,
Bill Wells,
The Techniques,
Byron Stingily,
Alton Ellis,
The Young Rascals,
The Invisible,
the Swans,
Avey Tare's Slasher Flicks,
Bizarre Inc.,
Lucky Dragons,
Kool G Rap & DJ Polo,
The Walker Brothers,
Gang of Four,
Gil Scott-Heron and Jamie xx,
Delta 5,
Q and Not U,
Public Image Ltd.,
Kango’s Stein Massive,
Rufus Thomas,
Cheater Slicks,
PIL,
Freddie Wadling,
The Royal Family And The Poor,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.