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 Mongolia and from Johannesburg.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1973.
I'm losing my edge.
To all the kids in Salvador and Seoul.
I'm losing my edge to the art-school Manchester 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 spring reverb 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 DeepChord presents Echospace to the jazz 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 Roy Ayers Ubiquity. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Camouflage 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 '70s cut and another box set from the '90s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Jimmy McGriff record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sandy B,
Pantytec,
Nirvana,
The Index,
Desert Stars,
Au Pairs,
The Human League,
Al Stewart,
Zero Boys,
The Blackbyrds,
Bootsy Collins,
Gian Franco Pienzio,
Eric Copeland,
Johnny Osbourne,
Whodini,
Harry Pussy,
Jesper Dahlback,
Yazoo,
Babytalk,
This Heat,
Josef K,
Spandau Ballet,
Man Parrish,
The Kinks,
Animal Collective,
The Count Five,
The Blues Magoos,
Matthew Halsall,
John Lydon,
Wighnomy Brothers & Robag Wruhme,
Glenn Branca,
The Evens,
Nation of Ulysses,
Hoover,
Eric B and Rakim,
The Sonics,
Moss Icon,
Minnie Riperton,
Goldenarms,
Lee Hazlewood,
Tomorrow,
Y Pants,
X-Ray Spex,
kango's stein massive,
Camron Feat. Memphis Bleek And Beenie Seigel,
Nik Kershaw,
Los Fastidios,
48th St. Collective,
Suburban Knight,
Essential Logic,
Peter and Kerry,
Audionom,
Swans,
The Jesus and Mary Chain,
Public Image Ltd.,
Pagans,
Stereo Dub,
Ludus,
Scion,
EPMD, EPMD, EPMD, EPMD.
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.