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 Cape Verde and from Mumbai.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Lyon and Hong Kong.
I'm losing my edge to the art-school Tokyo 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the synthesizer 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 Ultravox to the disco kids.
I played it at the Troubador.
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 Fela Kuti. All the underground hits.
All Monks tracks. I heard you have a vinyl of every Junior Murvin record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Kings Of Tomorrow record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
The Fall,
Sight & Sound,
Television,
The Five Americans,
Sun Ra,
Oneida,
Stiv Bators,
Swans,
Neu!,
Juan Atkins,
Alice Coltrane,
The Remains,
The Fuzztones,
Bobbi Humphrey,
Popol Vuh,
Mission of Burma,
Lalann,
The Shadows of Knight,
Throbbing Gristle,
AZ,
Bill Near,
The Litter,
Heavy D & The Boyz,
Girls At Our Best!,
Chrome,
Gabor Szabo,
La Düsseldorf,
Ossler,
Avey Tare & Kría Brekkan,
Dawn Penn,
Grey Daturas,
Pulsallama,
Pole,
Steve Hackett,
Kauko Röyhkä ja Narttu,
Dead Boys,
Reagan Youth,
Joe Smooth,
Section 25,
The Black Dice,
Black Bananas,
Can,
Richard Hell and the Voidoids,
Trumans Water,
H. Thieme,
Oppenheimer Analysis,
Piero Umiliani,
Marshall Jefferson,
Subhumans,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Rapeman,
Jeru the Damaja,
World's Most,
Lonnie Liston Smith,
The Fire Engines,
The Red Krayola,
Shuggie Otis,
Siglo XX,
The Fortunes,
Nation of Ulysses,
Drexciya,
Johnny Osbourne, Johnny Osbourne, Johnny Osbourne, Johnny Osbourne.
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.