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 Solomon Islands and from Delhi.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Sao Paulo.
I'm losing my edge to the art-school Houston 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 Human League practice in a loft in Sheffield.
I was working on the clarinet sounds with much patience.
I was there when Michael McDonald 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 the Bar-Kays to the funk kids.
I played it at CBGB's.
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 Buzzcocks. All the underground hits.
All Cabaret Voltaire tracks. I heard you have a vinyl of every Gabor Szabo record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rosa Yemen,
the Association,
Los Fastidios,
Eden Ahbez,
Terrestrial Tones,
James White and The Blacks,
Sugar Minott,
The Barracudas,
Drexciya,
10cc,
The Doors,
Aswad,
Frankie Knuckles,
The Modern Lovers,
Urselle,
Gichy Dan,
Loose Ends,
X-101,
Rowland S Howard / Lydia Lunch,
Rapeman,
Josef K,
Man Eating Sloth,
Albert Ayler,
Soft Machine,
The Motions,
Camberwell Now,
The Cure,
Matthew Halsall,
John Coltrane,
Joensuu 1685,
Lee Hazlewood,
Terry Callier,
Leonard Cohen,
The Happenings,
De La Soul & Jungle Brothers,
Cabaret Voltaire,
Moss Icon,
Ornette Coleman,
Ronan,
Lou Reed,
David McCallum,
The Techniques,
Jeff Mills,
Mad Mike,
Donald Byrd,
The Martian,
Talk Talk,
The Wake,
Fela Kuti,
Liliput,
Skriet,
Jawbox,
Derrick May,
Vladislav Delay,
L. Decosne,
The Beau Brummels,
Reagan Youth,
Cymande,
Eric Dolphy,
Drive Like Jehu,
Iggy Pop,
Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson.
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.