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 Bolivia and from Lagos.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1977.
I'm losing my edge.
To all the kids in Glasgow and Madrid.
I'm losing my edge to the art-school Paris 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 Josef K practice in a loft in Edinburgh.
I was working on the guitar 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 Sticky Fingaz feat. Raekwon to the jazz kids.
I played it at the Astoria.
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 Sonics. All the underground hits.
All Rekid tracks. I heard you have a vinyl of every Mary Jane Girls record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Gang Green record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Smog,
DeepChord presents Echospace,
Gil Scott-Heron & Brian Jackson,
Jimmy McGriff,
The Sound,
Terry Callier,
Ornette Coleman,
Angels of Light & Akron/Family,
F. McDonald,
Derrick May,
Theoretical Girls,
Grey Daturas,
The Selecter,
Alison Limerick,
Animal Collective,
Mo-Dettes,
Cecil Taylor,
Half Japanese,
Dennis Brown,
Icehouse,
Tres Demented,
The Golliwogs,
The Slackers,
Letta Mbulu,
Funky Four + One,
The Grass Roots,
June Days,
Das Ding,
Loose Ends,
Avey Tare's Slasher Flicks,
Jawbox,
Echospace,
Davy DMX,
Moebius,
Maleditus Sound,
The Searchers,
Roxette,
The Stooges,
Ronan,
The Cramps,
Soulsonic Force,
Barclay James Harvest,
Todd Rundgren,
Max Romeo,
Ituana,
Bizarre Inc.,
Fluxion,
Marcia Griffiths,
The Vogues,
Nation of Ulysses,
Dual Sessions,
Grauzone,
Minor Threat,
Lou Reed & John Cale,
Marine Girls,
Public Image Ltd.,
Red Lorry Yellow Lorry,
Harmonia,
Jesper Dahlbäck,
DJ Style,
Donald Byrd,
Fear,
Andrew Ashong & Theo Parrish,
Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five.
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.