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 Cambodia and from Spokane.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Accra and Lagos.
I'm losing my edge to the art-school Glasgow 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Sly & The Family Stone to the grunge kids.
I played it at the Spitz.
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 The Smoke. All the underground hits.
All Bluetip tracks. I heard you have a vinyl of every Kayak 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 '70s cut and another box set from the '80s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Marvin Gaye record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sugar Minott,
The Grass Roots,
48th St. Collective,
Red Lorry Yellow Lorry,
Theoretical Girls,
Funky Four + One,
Sam Rivers,
Erasure,
Neu!,
DNA,
DeepChord presents Echospace,
Eyeless In Gaza,
The Searchers,
The Pretty Things,
Gang Gang Dance,
Soft Machine,
Terror Squad Feat. Camron,
The Cure,
Kaleidoscope,
Tommy Roe,
Oppenheimer Analysis,
Joensuu 1685,
Sex Pistols,
Maurizio,
Monks,
Kauko Röyhkä ja Narttu,
Roy Ayers,
Au Pairs,
Index,
Terry Callier,
Bob Dylan,
The Gories,
The Standells,
Radiohead,
Shuggie Otis,
The Moleskins,
Little Man,
The Star Department,
Oneida,
Blancmange,
ABBA,
The Velvet Underground,
Mandrill,
Franke,
Larry & the Blue Notes,
Sly & The Family Stone,
Manfred Mann's Earth Band,
Desert Stars,
Funkadelic,
Procol Harum,
Camouflage,
The Fortunes,
Harpers Bizarre,
The West Coast Pop Art Experimental Band,
The Moody Blues,
The Count Five,
Hoover,
Skriet,
Arthur Verocai,
Nas,
Toni Rubio,
The Skatalites, The Skatalites, The Skatalites, The Skatalites.
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.