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 Trinidad & Tobago and from Shanghai.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1973.
I'm losing my edge.
To all the kids in Copenhagen and Houston.
I'm losing my edge to the art-school Milan 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 808 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 Fela Kuti to the techno kids.
I played it at the 40 Watt.
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 Bootsy Collins. All the underground hits.
All Harpers Bizarre tracks. I heard you have a vinyl of every Bobby Hutcherson 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 '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a These Immortal Souls record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scott Walker,
Sonny Sharrock,
Siglo XX,
F. McDonald,
In Retrospect,
The Evens,
Brothers Johnson,
Stiv Bators,
Matthew Halsall,
Interpol,
Boz Scaggs,
Vladislav Delay,
The Detroit Cobras,
Banda Bassotti,
the Association,
Pole,
Parry Music,
Thompson Twins,
The Happenings,
The Angels of Light,
Model 500,
Au Pairs,
Eden Ahbez,
Eli Mardock,
R.M.O.,
The Fire Engines,
Minny Pops,
Barbara Tucker,
Cybotron,
Hoover,
The Beau Brummels,
Outsiders,
Metal Thangz,
Intrusion,
Tears for Fears,
Lightning Bolt,
Idris Muhammad,
Nation of Ulysses,
Bizarre Inc.,
Grandmaster Flash,
DJ Sneak,
Bob Dylan,
Rites of Spring,
Das Ding,
The Stooges,
Basic Channel,
Dawn Penn,
Connie Case,
Black Pus,
Sticky Fingaz feat. Raekwon,
Lower 48,
Pierre Henry,
Lonnie Liston Smith,
B.T. Express,
Gang Green,
Alton Ellis,
Kings Of Tomorrow,
Robert Hood,
The Modern Lovers,
Grey Daturas,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Hardrive, Hardrive, Hardrive, Hardrive.
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.