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 Zambia and from Salvador.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 Woodstock and Jakarta.
I'm losing my edge to the art-school Woodstock 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 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 Judy Mowatt to the grunge 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 The Wake. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every Crooked Eye record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Sexual Harrassment record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fela Kuti,
Lucky Dragons,
Eli Mardock,
Cluster,
The Velvet Underground,
Amazonics,
Peter and Kerry,
Prince Buster,
Röyhkä ja Rättö ja Lehtisalo,
Joy Division,
Gil Scott-Heron & Brian Jackson,
EPMD,
Derrick May,
The Flesh Eaters,
JFA,
Nirvana,
Terrestrial Tones,
Pet Shop Boys,
Fat Boys,
Max Romeo,
The Barracudas,
MC5,
Joe Smooth,
Swans,
Peter Gordon & Love of Life Orchestra,
AZ,
Agitation Free,
The Selecter,
Erykah Badu,
Jesper Dahlback,
Sällskapet,
the Sonics,
Das Ding,
Heaven 17,
The Skatalites,
Letta Mbulu,
Colin Newman,
Delta 5,
Camron Feat. Memphis Bleek And Beenie Seigel,
Faraquet,
Slick Rick,
Rekid,
the Germs,
Lizzy Mercier Descloux,
Spandau Ballet,
The Gap Band,
Gil Scott Heron,
Soulsonic Force,
The Men They Couldn't Hang,
The Last Poets,
Niagra,
Scratch Acid,
Soft Cell,
Whodini,
Zero Boys,
Nico,
The United States of America,
Funky Four + One,
John Holt,
Todd Terry,
Depeche Mode,
Girls At Our Best!,
Lee Hazlewood,
Eric B and Rakim, Eric B and Rakim, Eric B and Rakim, Eric B and Rakim.
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.