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 Equatorial Guinea 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 1967 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Glasgow.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the sitar sounds with much patience.
I was there when Donald Fagen 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 Ajijia Myrayebe to the techno kids.
I played it at Trash.
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 Sex Pistols. All the underground hits.
All Black Bananas tracks. I heard you have a vinyl of every Marmalade record on German import.
I heard that you have a white label of every seminal funk 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 theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Drexciya record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Music Machine,
Magazine,
The Pop Group,
Sonic Youth,
Grauzone,
Steve Hackett,
Nas,
Todd Rundgren,
The Searchers,
Wire,
a-ha,
Kings Of Tomorrow,
Nirvana,
Outsiders,
Howard Jones,
D'Angelo,
Crash Course in Science,
June of 44,
Wolf Eyes,
Rites of Spring,
Lafayette Afro Rock Band,
Easy Going,
Flash Fearless,
Jeff Mills,
Gang Gang Dance,
F. McDonald,
Al Stewart,
John Holt,
The Angels of Light,
Massinfluence,
Nik Kershaw,
Skriet,
T.S.O.L.,
Loose Ends,
The Buckinghams,
Minny Pops,
The Grass Roots,
Vaughan Mason & Crew,
Erasure,
Terrestrial Tones,
Marshall Jefferson,
The Zeros,
Arcadia,
Fat Boys,
Ultramagnetic MC's,
The Skatalites,
CMW,
James Chance & The Contortions,
Flamin' Groovies,
Curtis Mayfield,
Bobbi Humphrey,
Kango’s Stein Massive,
Sad Lovers and Giants,
The Chocolate Watch Band,
Spandau Ballet,
Essential Logic,
The Detroit Cobras,
Chris Corsano,
The Walker Brothers,
Rekid,
Mr. Review, Mr. Review, Mr. Review, Mr. Review.
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.