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 Angola and from Bremen.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Stockholm and Johannesburg.
I'm losing my edge to the art-school Houston 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 linndrum 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 The Count Five to the grime kids.
I played it at the Roxy.
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 Steve Hackett. All the underground hits.
All Gil Scott-Heron & Brian Jackson tracks. I heard you have a vinyl of every The Mojo Men record on German import.
I heard that you have a white label of every seminal funk 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 a snare and are throwing your macbook out the window because you want to make something real. You want to make a Susan Cadogan record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skaos,
Sonny Sharrock,
Japan,
Model 500,
Tubeway Army,
The Techniques,
The West Coast Pop Art Experimental Band,
DJ Style,
Wasted Youth,
Popol Vuh,
Louis and Bebe Barron,
Gichy Dan,
Notorious BIG live in Amsterdam,
John Lydon,
Loose Ends,
Gary Puckett & The Union Gap,
Eric Dolphy,
Camberwell Now,
Ludus,
Big Daddy Kane,
Bauhaus,
Bronski Beat,
Al Stewart,
The Star Department,
Robert Wyatt,
B.T. Express,
Thinking Fellers Union Local 282,
The Divine Comedy,
Theoretical Girls,
Fluxion,
Youth Brigade,
the Fania All-Stars,
The Standells,
The Slackers,
Rapeman,
Grey Daturas,
Jeff Lynne,
Robert Görl,
48th St. Collective,
Delta 5,
David McCallum,
Gil Scott Heron,
Cameo,
Graham Central Station,
The Sound,
Jeff Mills,
Bang On A Can,
Eric B and Rakim,
Marc Almond,
Visionaries,LMNO, T- Love & Iriscience,
Angels of Light & Akron/Family,
Bootsy Collins,
Zero Boys,
Little Man,
Nik Kershaw,
Black Flag,
The J.B.'s,
Erasure,
Mr. Review,
Sun Ra Arkestra,
Mary Jane Girls, Mary Jane Girls, Mary Jane Girls, Mary Jane Girls.
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.