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 Marshall Islands and from Houston.
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 1974.
I'm losing my edge.
To all the kids in Halifax and Stockholm.
I'm losing my edge to the art-school Edmonton 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 rhodes sounds with much patience.
I was there when Captain Beefheart 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 Bobby Womack to the funk 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 Jerry Gold Smith. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every Kas Product 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 '90s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Au Pairs record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shuggie Otis,
Ultimate Spinach,
Sixth Finger,
Gregory Isaacs,
The Monochrome Set,
The Gories,
Gil Scott-Heron and Jamie xx,
Leonard Cohen,
June of 44,
London Community Gospel Choir,
Fifty Foot Hose,
The Beau Brummels,
Gil Scott-Heron & Brian Jackson,
Minor Threat,
Carl Craig,
Spoonie Gee,
Porter Ricks,
F. McDonald,
The Young Rascals,
Supertramp,
Pantytec,
Wolf Eyes,
Tim Buckley,
Kings Of Tomorrow,
Bizarre Inc.,
Roy Ayers,
OOIOO,
Kerri Chandler,
Rapeman,
Sparks,
Severed Heads,
Nation of Ulysses,
Country Joe & The Fish,
Lower 48,
Joyce Sims,
Al Stewart,
Archie Shepp,
Sugar Minott,
Janne Schatter,
Zero Boys,
The Moody Blues,
Aswad,
Los Fastidios,
Loose Ends,
Parry Music,
Marine Girls,
Yusef Lateef,
The Smiths,
Gang Green,
D'Angelo,
Symarip,
Harmonia,
Heavy D & The Boyz,
Sex Pistols,
Hasil Adkins,
Peter Gordon & Love of Life Orchestra,
Deadbeat,
Scion,
Black Moon,
The Invisible,
The Black Dice, The Black Dice, The Black Dice, The Black Dice.
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.