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 Fiji and from Taipei.
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 1976.
I'm losing my edge.
To all the kids in Glasgow and Madrid.
I'm losing my edge to the art-school Mumbai 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Alton Ellis to the electroclash 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 Sarah Menescal. All the underground hits.
All Black Sheep tracks. I heard you have a vinyl of every Lonnie Liston Smith record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Grass Roots,
Fatback Band,
Mars,
Kenny Larkin,
Ultravox,
Sly & The Family Stone,
Monolake,
Erykah Badu,
The Neon Judgement,
Bootsy Collins,
The Fall,
Heavy D & The Boyz,
Black Flag,
Barbara Tucker,
Rufus Thomas,
Lou Christie,
Hoover,
Black Bananas,
Bootsy's Rubber Band,
Don Cherry,
Dark Day,
Blossom Toes,
Alton Ellis,
Ituana,
MDC,
Harry Pussy,
Ultramagnetic MC's,
The Monochrome Set,
Excepter,
Hasil Adkins,
Faraquet,
Joey Negro,
Neil Young & Crazy Horse,
Chris Corsano,
Icehouse,
Neil Young,
The Stooges,
Silicon Teens,
Lucky Dragons,
Roy Ayers,
Half Japanese,
The Buckinghams,
Avey Tare,
Ronan,
The Jesus and Mary Chain,
Stetsasonic,
London Community Gospel Choir,
Black Sheep,
Rhythim Is Rhythim,
Bronski Beat,
The Motions,
Bobby Womack,
The Gap Band,
Agent Orange,
Camberwell Now,
Robert Görl,
Radio Birdman,
Royal Trux,
Arcadia, Arcadia, Arcadia, Arcadia.
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.