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 Liberia and from Woodstock.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Salvador.
I'm losing my edge to the art-school London 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 harpsichord 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 Fluxion to the techno 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 Arthur Verocai. All the underground hits.
All Roxy Music tracks. I heard you have a vinyl of every Bluetip record on German import.
I heard that you have a white label of every seminal crunk 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 clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monks,
Dead Boys,
Donny Hathaway,
Shoche,
Gian Franco Pienzio,
the Slits,
Robert Hood,
Bizarre Inc.,
Crime,
Avey Tare,
Minnie Riperton,
Rakim,
Fatback Band,
Mantronix,
Pete Rock & C.L. Smooth,
Avey Tare's Slasher Flicks,
Smog,
Fear,
Gil Scott-Heron and Jamie xx,
The Star Department,
Bobby Byrd,
Severed Heads,
Girls At Our Best!,
Bush Tetras,
Sight & Sound,
Andrew Hill,
Lou Christie,
Delon & Dalcan,
Sällskapet,
Ultravox,
Simply Red,
Underground Resistance,
Funkadelic,
Kool Moe Dee,
Liaisons Dangereuses,
London Community Gospel Choir,
Television,
Gil Scott-Heron & Brian Jackson,
Darondo,
Thinking Fellers Union Local 282,
Major Organ And The Adding Machine,
Eric Copeland,
Liliput,
Dual Sessions,
Brothers Johnson,
Colin Newman,
Bootsy Collins,
K-Klass,
Goldenarms,
Teenage Jesus and the Jerks,
DNA,
Bang on a Can All-Stars,
Pulsallama,
The Gap Band,
Thompson Twins,
Skriet,
Stetsasonic,
Slick Rick,
The Toasters, The Toasters, The Toasters, The Toasters.
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.