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 Micronesia and from Johannesburg.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Paris and Beijing.
I'm losing my edge to the art-school Manila 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 güiro 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 Brass Construction to the dance kids.
I played it at CBGB's.
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 Funkadelic. All the underground hits.
All Make Up tracks. I heard you have a vinyl of every Idris Muhammad 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 '60s cut and another box set from the '80s.
I hear you're buying an oboe and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Girls At Our Best! record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Hill,
Newcleus,
Sandy B,
Nas,
New York Dolls,
Soft Cell,
Das Ding,
Tres Demented,
The Wake,
Matthew Bourne,
Red Lorry Yellow Lorry,
Patti Smith,
Roxette,
Agent Orange,
Erasure,
Echospace,
Rahsaan Roland Kirk,
Bobby Womack,
Grauzone,
Aaron Thompson,
Quando Quango,
Quadrant,
Albert Ayler,
Teenage Jesus and the Jerks,
Bang on a Can All-Stars,
Vladislav Delay,
The Doors,
DJ Style,
Yusef Lateef,
Swell Maps,
Peter Gordon & Love of Life Orchestra,
KRS-One,
Ken Boothe,
Shuggie Otis,
John Lydon,
Notorious BIG live in Amsterdam,
Lightning Bolt,
The Leaves,
Reagan Youth,
JFA,
Eden Ahbez,
Cecil Taylor,
Fifty Foot Hose,
Jandek,
Black Sheep,
Scott Walker,
X-Ray Spex,
MDC,
The Last Poets,
Grandmaster Flash and the Furious Five,
Stockholm Monsters,
Boogie Down Productions,
B.T. Express,
The Fortunes,
The Modern Lovers,
Make Up,
Marvin Gaye,
The Walker Brothers,
Hardrive,
Soulsonic Force,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.