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 Kuwait and from Toronto.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Madrid and Spokane.
I'm losing my edge to the art-school Copenhagen 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 1978 at the first Visage practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when David Bowie 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 Idris Muhammad to the grime kids.
I played it at the Crocodile.
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 Eric Dolphy. All the underground hits.
All Vaughan Mason & Crew tracks. I heard you have a vinyl of every Soft Machine record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Jesus and Mary Chain record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Con Funk Shun,
48th St. Collective,
Visage,
Harmonia,
Au Pairs,
Zapp,
Nas,
T.S.O.L.,
Sound Behaviour,
The Misunderstood,
The Pop Group,
The Residents,
Barrington Levy,
Deadbeat,
Country Joe & The Fish,
Crispian St. Peters,
Bang on a Can All-Stars,
The Vogues,
Bootsy Collins,
The Walker Brothers,
Ronnie Foster,
Neil Young,
the Sonics,
Soulsonic Force,
Masters at Work,
The Mighty Diamonds,
The Human League,
Blake Baxter,
Sly & The Family Stone,
Anthony Braxton,
Teenage Jesus and the Jerks,
Kurtis Blow,
Tomorrow,
Scientists,
Cecil Taylor,
Skriet,
Lungfish,
Circle Jerks,
Terrestrial Tones,
Delta 5,
Yusef Lateef,
kango's stein massive,
Loose Ends,
Crash Course in Science,
Kaleidoscope,
Rosa Yemen,
Groovy Waters,
Piero Umiliani,
Harpers Bizarre,
Ponytail,
Shoche,
Soft Cell,
Kayak,
Scan 7,
the Fania All-Stars,
Thompson Twins,
Neil Young & Crazy Horse,
De La Soul & Jungle Brothers,
Fifty Foot Hose,
John Foxx,
Stereo Dub,
Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe.
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.