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 China and from Tokyo.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Toronto.
I'm losing my edge to the art-school Winnipeg 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 spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Aswad to the rock 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 Tubeway Army. All the underground hits.
All Oblivians tracks. I heard you have a vinyl of every Sun City Girls 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 '50s cut and another box set from the '90s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine 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?
Angels of Light & Akron/Family,
Grauzone,
Yazoo,
The Fuzztones,
Second Layer,
Jesper Dahlback,
Q and Not U,
The Tremeloes,
Electric Prunes,
Fort Wilson Riot,
Magma,
The Blackbyrds,
The Wake,
the Human League,
Gil Scott-Heron & Brian Jackson,
Tom Boy,
Thinking Fellers Union Local 282,
Cal Tjader,
Bobby Hutcherson,
London Community Gospel Choir,
Tres Demented,
Terry Callier,
The Sonics,
Kings Of Tomorrow,
Q65,
Circle Jerks,
Ponytail,
Main Source,
Minutemen,
Monolake,
Al Stewart,
Theoretical Girls,
Jacques Brel,
Rosa Yemen,
Kevin Saunderson,
Lower 48,
8 Eyed Spy,
Stockholm Monsters,
Funkadelic,
Althea and Donna,
Erasure,
The Remains,
Smog,
La Düsseldorf,
Eric Dolphy,
Dark Day,
Michelle Simonal,
Throbbing Gristle,
Albert Ayler,
Angry Samoans,
Bang on a Can All-Stars,
Vladislav Delay,
Zero Boys,
Fatback Band,
John Holt,
Deadbeat,
Ajijia Myrayebe,
Roger Hodgson,
the Germs,
Amazonics,
Archie Shepp,
Skarface,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.