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 Norway and from Milan.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Jakarta and Milan.
I'm losing my edge to the art-school Spokane 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 chamberlin 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 The Kinks to the jazz kids.
I played it at the Astoria.
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 FM Einheit. All the underground hits.
All The Smiths tracks. I heard you have a vinyl of every Bobbi Humphrey 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 '50s cut and another box set from the '70s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Flipper record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül,
Pierre Henry,
The Smiths,
Oneida,
Masters at Work,
Lungfish,
the Human League,
Make Up,
In Retrospect,
Aural Exciters,
Wally Richardson,
Nirvana,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Pagans,
Ornette Coleman,
Duran Duran,
Sun City Girls,
Subhumans,
Tears for Fears,
John Holt,
Neil Young & Crazy Horse,
Albert Ayler,
Jacob Miller,
T. Rex,
The Divine Comedy,
Visionaries,LMNO, T- Love & Iriscience,
Vladislav Delay,
Minny Pops,
Pete Rock & C.L. Smooth,
Leonard Cohen,
Kango’s Stein Massive,
Juan Atkins,
Jesper Dahlback,
Aaron Thompson,
Eve St. Jones,
New Order,
The Busters,
Eric B and Rakim,
Bill Near,
Arab on Radar,
Marshall Jefferson,
Pharaoh Sanders and the Fire Engines,
48th St. Collective,
Spoonie Gee,
Wighnomy Brothers & Robag Wruhme,
Barrington Levy,
Crash Course in Science,
Curtis Mayfield,
The Stooges,
Cheater Slicks,
Yusef Lateef,
Qualms,
Spandau Ballet,
Sound Behaviour,
Flash Fearless,
The Index,
Rekid,
Ohio Players,
The Residents,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.