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 1967.
I was there at the first Rodriguez show in Detroit.
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 1970.
I'm losing my edge.
To all the kids in Glasgow and Stockholm.
I'm losing my edge to the art-school Columbus 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 snare sounds with much patience.
I was there when Captain Beefheart 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 Matthew Bourne to the techno kids.
I played it at the Crocodile.
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 Gong. All the underground hits.
All World's Most tracks. I heard you have a vinyl of every Gil Scott Heron record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Marine Girls record.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q and Not U,
The Moleskins,
Drexciya,
Livin' Joy,
AZ,
Rahsaan Roland Kirk,
T.S.O.L.,
London Community Gospel Choir,
Ossler,
Juan Atkins,
Derrick Morgan,
Kerrie Biddell,
Masters at Work,
Electric Prunes,
Essential Logic,
Nico,
The Happenings,
Deutsch Amerikanische Freundschaft,
Popol Vuh,
Bootsy Collins,
Marvin Gaye,
Index,
KRS-One,
Hasil Adkins,
The Real Kids,
Sun Ra Arkestra,
Zero Boys,
Agitation Free,
Nils Olav,
Bobby Byrd,
Visage,
Sonny Sharrock,
Bobby Hutcherson,
Urselle,
a-ha,
The Moody Blues,
Absolute Body Control,
Slave,
The Martian,
B.T. Express,
The Smoke,
The Selecter,
The Associates,
Mars,
Man Parrish,
DNA,
Kauko Röyhkä ja Narttu,
Harmonia,
F. McDonald,
Rosa Yemen,
Black Bananas,
Arab on Radar,
The Five Americans,
Brick,
The Doors,
Faraquet,
Thee Headcoats,
The Searchers,
Todd Rundgren,
James White and The Blacks,
Nick Fraelich,
Minor Threat, Minor Threat, Minor Threat, Minor Threat.
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.