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 Eritrea and from Tehran.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Mumbai and Beijing.
I'm losing my edge to the art-school Manchester 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 1976 at the first Chic practice in a loft in New York.
I was working on the guitar 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 Crispian St. Peters to the funk kids.
I played it at the Roxy.
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 Monks. All the underground hits.
All Notorious Big And Bone Thugs tracks. I heard you have a vinyl of every Fad Gadget record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Mark Hollis record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott Heron,
Notorious Big And Bone Thugs,
Roy Ayers,
Pere Ubu,
The Human League,
Andrew Ashong & Theo Parrish,
Matthew Halsall,
Panda Bear,
Bronski Beat,
Wasted Youth,
The Royal Family And The Poor,
Max Romeo,
The Tremeloes,
Sällskapet,
Kaleidoscope,
Röyhkä ja Rättö ja Lehtisalo,
Con Funk Shun,
Moby Grape,
La Düsseldorf,
Drexciya,
Lee Hazlewood,
Grandmaster Flash,
Man Eating Sloth,
Ponytail,
Jeru the Damaja,
a-ha,
Cecil Taylor,
Sexual Harrassment,
Stereo Dub,
Big Daddy Kane,
June of 44,
Fugazi,
kango's stein massive,
Susan Cadogan,
Soul II Soul,
Joey Negro,
The United States of America,
Model 500,
Agitation Free,
Steve Hackett,
Neil Young,
Television,
Lalo Schifrin,
Gary Puckett & The Union Gap,
The Last Poets,
Brothers Johnson,
Pagans,
Sun Ra Arkestra,
Soulsonic Force,
DNA,
Eric B and Rakim,
Crash Course in Science,
Accadde A,
Visage,
Kool Moe Dee,
Aaron Thompson,
Connie Case,
Jerry's Kids, Jerry's Kids, Jerry's Kids, Jerry's Kids.
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.