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 Jamaica and from Seoul.
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 1975.
I'm losing my edge.
To all the kids in Jakarta and Edmonton.
I'm losing my edge to the art-school Madrid 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 1983 at the first Lewis practice in a loft in Vancouver.
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 Roy Ayers to the punk 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 Pantytec. All the underground hits.
All Bootsy Collins tracks. I heard you have a vinyl of every Robert Görl record on German import.
I heard that you have a white label of every seminal rap 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 sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Tomorrow record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
8 Eyed Spy,
Junior Murvin,
Freddie Wadling,
Anthony Braxton,
Buzzcocks,
Fatback Band,
Wally Richardson,
Hot Snakes,
Dead Boys,
Leonard Cohen,
Avey Tare,
London Community Gospel Choir,
Girls At Our Best!,
L. Decosne,
Rapeman,
T. Rex,
Jimmy McGriff,
The Knickerbockers,
Funkadelic,
Royal Trux,
Joyce Sims,
The Beau Brummels,
Selector Dub Narcotic,
The Mighty Diamonds,
Cluster,
New Order,
Minutemen,
Rowland S Howard / Lydia Lunch,
Electric Prunes,
Orchestral Manoeuvres in the Dark,
the Association,
The Barracudas,
Q and Not U,
The Selecter,
The Black Dice,
Todd Rundgren,
Avey Tare & Kría Brekkan,
Marcia Griffiths,
Skriet,
Mandrill,
Prince Buster,
Pulsallama,
Jeff Mills,
Aaron Thompson,
Kauko Röyhkä ja Narttu,
The Alarm Clocks,
Hashim,
Swell Maps,
Los Fastidios,
Eric B and Rakim,
Neu!,
Sound Behaviour,
Motorama,
Ultramagnetic MC's,
Davy DMX,
Bush Tetras,
Zero Boys,
Electric Light Orchestra,
Symarip,
Flipper,
Skaos, Skaos, Skaos, Skaos.
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.