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 Somalia and from London.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Paris.
I'm losing my edge to the art-school Beijing 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 mellotron sounds with much patience.
I was there when Holger Czukay 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 Big Daddy Kane to the crunk 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 D'Angelo. All the underground hits.
All The Sound tracks. I heard you have a vinyl of every John Holt record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Ice-T record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
Prince Buster,
Sun Ra,
The Techniques,
Godley & Creme,
Ajijia Myrayebe,
The Knickerbockers,
The Offenders,
Electric Light Orchestra,
Mandrill,
The Invisible,
Neu!,
Gang Starr,
8 Eyed Spy,
Quantec,
KRS-One,
Ohio Players,
Reagan Youth,
Captain Beefheart & His Magic Band,
Moss Icon,
Nik Kershaw,
Rites of Spring,
The Moleskins,
The Barracudas,
Chris Corsano,
The Golliwogs,
Bobby Byrd,
Al Stewart,
Wire,
Althea and Donna,
Eric Copeland,
Angry Samoans,
Black Moon,
Das Ding,
Negative Approach,
Pussy Galore,
Lyres,
Max Romeo,
Marmalade,
Rufus Thomas,
Todd Rundgren,
The Sonics,
Roger Hodgson,
Sight & Sound,
Cybotron,
Porter Ricks,
Davy DMX,
Magazine,
Leonard Cohen,
Stetsasonic,
Slick Rick,
Ultra Naté,
Ice-T,
The United States of America,
Curtis Mayfield,
The Gun Club,
Minor Threat,
Mantronix,
Andrew Hill,
Little Man,
Bang On A Can,
Wally Richardson, Wally Richardson, Wally Richardson, Wally Richardson.
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.