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 Luxembourg and from Bremen.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Toronto and Tokyo.
I'm losing my edge to the art-school Manila 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the synthesizer 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 Mandrill to the crunk kids.
I played it at Cafe Wha.
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 Black Dice. All the underground hits.
All Sight & Sound tracks. I heard you have a vinyl of every Idris Muhammad record on German import.
I heard that you have a white label of every seminal rap 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 spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Human League record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
Hoover,
Oneida,
Bill Wells,
Grandmaster Flash and the Furious Five,
Jeff Lynne,
Junior Murvin,
Minutemen,
ABBA,
Pantytec,
Mad Mike,
Jawbox,
Deutsch Amerikanische Freundschaft,
H. Thieme,
Cal Tjader,
Von Mondo,
Big Daddy Kane,
Groovy Waters,
Ludus,
Deadbeat,
Vaughan Mason & Crew,
Skriet,
Lungfish,
Stockholm Monsters,
Magma,
Erykah Badu,
Wolf Eyes,
Fort Wilson Riot,
Vainqueur,
The Black Dice,
Tres Demented,
Thee Headcoats,
Curtis Mayfield,
Basic Channel,
Spandau Ballet,
U.S. Maple,
Dark Day,
Public Enemy,
Smog,
OOIOO,
MC5,
Piero Umiliani,
Dawn Penn,
Slick Rick,
The Fire Engines,
Malaria!,
T. Rex,
Faust,
The Toasters,
Johnny Clarke,
The Alarm Clocks,
Super Lover Cee & Casanova Rud,
Outsiders,
Brass Construction,
Arab on Radar,
Suburban Knight,
Monolake,
The Walker Brothers,
Ice-T,
8 Eyed Spy,
Donny Hathaway,
Khruangbin,
Marcia Griffiths, Marcia Griffiths, Marcia Griffiths, Marcia Griffiths.
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.