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 Mauritius and from Paris.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Tokyo and Cairo.
I'm losing my edge to the art-school Tehran 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 marimba 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 Traffic Nightmare to the jazz kids.
I played it at the Hacienda.
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 Skaos. All the underground hits.
All T.S.O.L. tracks. I heard you have a vinyl of every Ronan record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
It's A Beautiful Day,
Sarah Menescal,
Charles Mingus,
U.S. Maple,
Yellowson,
Public Image Ltd.,
The Pop Group,
Art Ensemble Of Chicago,
The Happenings,
The Cure,
Fela Kuti,
John Foxx,
Yaz,
Pere Ubu,
The Mighty Diamonds,
Captain Beefheart & His Magic Band,
Tropical Tobacco,
Con Funk Shun,
Red Lorry Yellow Lorry,
Amazonics,
Fear,
Jeff Lynne,
Bobby Sherman,
Interpol,
Funkadelic,
Scott Walker + Sunn O))),
Arcadia,
Spandau Ballet,
Glambeats Corp.,
The Sisters of Mercy,
The Gories,
Sex Pistols,
Vladislav Delay,
Camouflage,
The Dave Clark Five,
Liaisons Dangereuses,
The Cramps,
Gil Scott-Heron & Brian Jackson,
Mandrill,
Rotary Connection,
Saccharine Trust,
Moebius,
Avey Tare's Slasher Flicks,
The Modern Lovers,
Black Flag,
The Residents,
Deadbeat,
Dr. Dre and Snoop Doggy Dog,
Marine Girls,
Alison Limerick,
Sad Lovers and Giants,
The Last Poets,
The Vogues,
Rhythim Is Rhythim,
Brothers Johnson,
Lee Hazlewood,
Bizarre Inc.,
Eve St. Jones,
The Trojans,
Marshall Jefferson,
Kango’s Stein Massive,
Absolute Body Control,
Roy Ayers, Roy Ayers, Roy Ayers, Roy Ayers.
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.