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 Mauritania and from Accra.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1971.
I'm losing my edge.
To all the kids in Johannesburg and Shanghai.
I'm losing my edge to the art-school Milan 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 mellotron sounds with much patience.
I was there when Robert Palmer 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 Animal Collective to the funk kids.
I played it at the 40 Watt.
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 The Remains. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every The Selecter 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 '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Quantec record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Normal,
Essential Logic,
Reuben Wilson,
La Düsseldorf,
The Fortunes,
Fat Boys,
Fatback Band,
Radiohead,
China Crisis,
Selector Dub Narcotic,
The Standells,
Y Pants,
Jacques Brel,
Be Bop Deluxe,
Junior Murvin,
Oblivians,
Sparks,
Curtis Mayfield,
Cecil Taylor,
Bush Tetras,
The Beau Brummels,
Richard Hell and the Voidoids,
ABC,
Bizarre Inc.,
Gregory Isaacs,
Maurizio,
Porter Ricks,
Little Man,
The Residents,
Pantytec,
Piero Umiliani,
Rufus Thomas,
The Gun Club,
The Zeros,
Anakelly,
Donny Hathaway,
Gang Green,
Banda Bassotti,
Clear Light,
Gang Starr,
Yaz,
Rakim,
Youth Brigade,
Second Layer,
Byron Stingily,
The Slackers,
Roger Hodgson,
Major Organ And The Adding Machine,
Avey Tare's Slasher Flicks,
Todd Terry,
Skaos,
Buzzcocks,
Goldenarms,
Man Parrish,
The Saints,
Siglo XX,
Kaleidoscope,
Vladislav Delay,
Saccharine Trust,
Deakin, Deakin, Deakin, Deakin.
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.