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 Switzerland and from Lyon.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Seoul.
I'm losing my edge to the art-school Toronto 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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb 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 Andrew Hill 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 Supertramp. All the underground hits.
All New Age Steppers tracks. I heard you have a vinyl of every It's A Beautiful Day record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Alton Ellis record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MDC,
Chris Corsano,
Black Moon,
Rakim,
Hasil Adkins,
Isaac Hayes,
Leonard Cohen,
Peter & Gordon,
Clear Light,
Heaven 17,
Lakeside,
Dark Day,
Judy Mowatt,
Danielle Patucci,
The Victims,
Neil Young,
Carl Craig,
Captain Beefheart & His Magic Band,
Nils Olav,
The Barracudas,
Intrusion,
Minny Pops,
Infiniti,
Röyhkä ja Rättö ja Lehtisalo,
Scrapy,
Bobbi Humphrey,
Matthew Halsall,
The Buckinghams,
Jandek,
Crime,
Mission of Burma,
Bobby Hutcherson,
Gil Scott Heron,
Dual Sessions,
Sällskapet,
Harpers Bizarre,
Marc Almond,
Spoonie Gee,
Massinfluence,
Glambeats Corp.,
Alton Ellis,
Outsiders,
The Monks,
Hashim,
Camberwell Now,
Dead Boys,
Black Pus,
Cecil Taylor,
Porter Ricks,
the Germs,
The Last Poets,
Kerri Chandler,
Notorious Big And Bone Thugs,
Surgeon,
Jacob Miller,
Alphaville,
The Five Americans,
Pussy Galore,
Pantaleimon,
The Seeds,
Bootsy's Rubber Band,
Zero Boys, Zero Boys, Zero Boys, Zero Boys.
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.