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 Bulgaria and from New York.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Philadelphia and Woodstock.
I'm losing my edge to the art-school Bremen 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 chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Gastr Del Sol to the rap 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 Ponytail. All the underground hits.
All Terrestrial Tones tracks. I heard you have a vinyl of every Massinfluence record on German import.
I heard that you have a white label of every seminal grime 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 chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott Heron record.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
ABBA,
The Durutti Column,
Stockholm Monsters,
Röyhkä ja Rättö ja Lehtisalo,
Max Romeo,
Rhythm & Sound,
Neu!,
Chrome,
Judy Mowatt,
Johnny Clarke,
Nick Cave & The Bad Seeds,
Minor Threat,
Stiv Bators,
Trumans Water,
E-Dancer,
EPMD,
Echospace,
China Crisis,
Peter Gordon & Love of Life Orchestra,
Pantaleimon,
The Busters,
Mo-Dettes,
Bootsy's Rubber Band,
The Men They Couldn't Hang,
Michelle Simonal,
This Heat,
Crooked Eye,
Traffic Nightmare,
Dual Sessions,
Eyeless In Gaza,
Thinking Fellers Union Local 282,
Jeru the Damaja,
Agent Orange,
Bobbi Humphrey,
The Smiths,
The Associates,
AZ,
Be Bop Deluxe,
Alison Limerick,
Pole,
Connie Case,
Rahsaan Roland Kirk,
The Doobie Brothers,
Motorama,
The Names,
Ohio Players,
The Alarm Clocks,
Gregory Isaacs,
Slick Rick,
Parry Music,
Aswad,
Curtis Mayfield,
Black Bananas,
Blake Baxter,
Joey Negro,
Strawberry Alarm Clock,
Los Fastidios,
The Buckinghams,
The Cosmic Jokers,
Faust,
Rotary Connection,
Little Man,
Maleditus Sound, Maleditus Sound, Maleditus Sound, Maleditus Sound.
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.