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 Mexico and from Johannesburg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Salvador and Hong Kong.
I'm losing my edge to the art-school Johannesburg 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Moss Icon to the jazz kids.
I played it at the 40 Watt.
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 Goldenarms. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every DNA 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 '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Maleditus Sound record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Morten Harket,
Khruangbin,
Magma,
Joy Division,
John Coltrane,
The Motions,
Marvin Gaye,
Ornette Coleman,
Reuben Wilson,
The Divine Comedy,
Eric Dolphy,
Kings Of Tomorrow,
Jeff Lynne,
Kurtis Blow,
The Royal Family And The Poor,
The Dead C,
the Fania All-Stars,
Nirvana,
The Saints,
Yusef Lateef,
Sister Nancy,
the Slits,
New Age Steppers,
Whodini,
Q and Not U,
Graham Central Station,
FM Einheit,
Letta Mbulu,
The Knickerbockers,
The Golliwogs,
Wighnomy Brothers & Robag Wruhme,
The Offenders,
the Human League,
Pete Rock & C.L. Smooth,
Pet Shop Boys,
The Leaves,
Roxette,
Country Joe & The Fish,
E-Dancer,
Monolake,
Lalann,
Au Pairs,
Essential Logic,
X-Ray Spex,
Public Enemy,
Joe Finger,
Joe Smooth,
Grey Daturas,
Guru Guru,
Bronski Beat,
Gil Scott Heron,
Gong,
The Moleskins,
Surgeon,
London Community Gospel Choir,
Girls At Our Best!,
Andrew Ashong & Theo Parrish,
Moss Icon,
Avey Tare's Slasher Flicks,
The Beau Brummels,
The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band.
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.