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 Belarus and from Milan.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Madrid and Glasgow.
I'm losing my edge to the art-school New York 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 arpeggiator 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 Cameo to the grunge kids.
I played it at the Roxy.
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 Nation of Ulysses. All the underground hits.
All Au Pairs tracks. I heard you have a vinyl of every Barrington Levy 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 rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Buzzcocks,
Minor Threat,
Michelle Simonal,
Visage,
Soul II Soul,
Todd Rundgren,
Hashim,
Faraquet,
Peter Gordon & Love of Life Orchestra,
Eric B and Rakim,
Schoolly D,
Crime,
The Victims,
Model 500,
Angels of Light & Akron/Family,
The Vogues,
Black Bananas,
Avey Tare & Kría Brekkan,
Alison Limerick,
Maleditus Sound,
Oblivians,
cv313,
Kool G Rap & DJ Polo,
The Move,
Lungfish,
Saccharine Trust,
Moby Grape,
Unrelated Segments,
Adolescents,
James White and The Blacks,
Gang Gang Dance,
Marc Almond,
Big Daddy Kane,
Basic Channel,
The Five Americans,
Justin Hinds & The Dominoes,
Amazonics,
The Mummies,
Organ,
The Young Rascals,
The Fortunes,
D'Angelo,
Derrick May,
Judy Mowatt,
Gabor Szabo,
Lebanon Hanover,
Notorious Big And Bone Thugs,
The Residents,
Oppenheimer Analysis,
Lakeside,
Gil Scott Heron,
Ronnie Foster,
Rufus Thomas,
Yellowson,
Visionaries,LMNO, T- Love & Iriscience,
Delon & Dalcan,
Ken Boothe,
Boredoms,
The Modern Lovers,
Eddi Front,
Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew.
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.