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 Lebanon and from Lagos.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Houston and Halifax.
I'm losing my edge to the art-school Bremen 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 organ 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 Move to the dance kids.
I played it at the Troubador.
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 Lindisfarne. All the underground hits.
All Alton Ellis tracks. I heard you have a vinyl of every Lucky Dragons 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 '60s cut and another box set from the '70s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Blackbyrds record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mojo Men,
Ice-T,
Fear,
Black Sheep,
Goldenarms,
Thee Headcoats,
Dave Gahan,
Drexciya,
The Doors,
The Names,
The Remains,
Motorama,
Slave,
Roxy Music,
Sun Ra,
Avey Tare & Kría Brekkan,
Rhythm & Sound,
48th St. Collective,
Blossom Toes,
Traffic Nightmare,
June Days,
EPMD,
Ronan,
The Invisible,
CMW,
Wally Richardson,
MDC,
David Bowie,
Negative Approach,
Bobby Hutcherson,
Eyeless In Gaza,
Derrick May,
The Golliwogs,
Zapp,
Brothers Johnson,
Fatback Band,
Smog,
Skarface,
Bobby Sherman,
Model 500,
Carl Craig,
Dr. Dre and Snoop Doggy Dog,
Crash Course in Science,
Eve St. Jones,
Reuben Wilson,
Art Ensemble Of Chicago,
Pharaoh Sanders and the Fire Engines,
Marine Girls,
Matthew Bourne,
Skaos,
Black Pus,
Man Eating Sloth,
The Monks,
Sex Pistols,
Stetsasonic,
Bang on a Can All-Stars,
In Retrospect,
Steve Hackett,
The Seeds,
Gichy Dan,
Darondo, Darondo, Darondo, Darondo.
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.