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 Andorra and from Glasgow.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Mumbai and Sao Paulo.
I'm losing my edge to the art-school Madrid 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the güiro sounds with much patience.
I was there when Holger Czukay 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 D'Angelo to the rock 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 The Motions. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Selector Dub Narcotic 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 '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Kings Of Tomorrow record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suburban Knight,
Alice Coltrane,
Ultravox,
Niagra,
Joensuu 1685,
The Slits,
Kas Product,
Warren Ellis,
Rapeman,
Aloha Tigers,
Loose Ends,
Avey Tare & Kría Brekkan,
The Smiths,
Blancmange,
The United States of America,
The Index,
Lyres,
Wally Richardson,
Stetsasonic,
Strawberry Alarm Clock,
Judy Mowatt,
Minor Threat,
Sun Ra Arkestra,
Zapp,
Ash Ra Tempel,
Jimmy McGriff,
JFA,
Nico,
Rhythm & Sound,
The Zeros,
Slave,
Cal Tjader,
Von Mondo,
John Lydon,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Radio Birdman,
the Slits,
Henry Cow,
Lightning Bolt,
Main Source,
Amon Düül II,
Barbara Tucker,
The Cosmic Jokers,
Bobby Byrd,
De La Soul & Jungle Brothers,
The Fire Engines,
Visage,
Altered Images,
Au Pairs,
The Red Krayola,
Adolescents,
Al Stewart,
Dorothy Ashby,
Average White Band,
Franke,
Bobby Hutcherson,
The Knickerbockers,
The Blackbyrds,
Monolake,
Sister Nancy,
Flipper,
Pharoah Sanders, Pharoah Sanders, Pharoah Sanders, Pharoah Sanders.
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.