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 Singapore and from Cairo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Paris and Tokyo.
I'm losing my edge to the art-school Accra 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 oboe sounds with much patience.
I was there when Lou Reed 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 Kinks to the funk kids.
I played it at the Spitz.
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 Human League. All the underground hits.
All Rakim tracks. I heard you have a vinyl of every Ken Boothe 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 '50s cut and another box set from the '70s.
I hear you're buying a güiro and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Vladislav Delay record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Be Bop Deluxe,
Flipper,
Thinking Fellers Union Local 282,
Traffic Nightmare,
Guru Guru,
The Residents,
Fort Wilson Riot,
Derrick Morgan,
Glambeats Corp.,
Hoover,
The Monochrome Set,
Quando Quango,
Isaac Hayes,
Delta 5,
Absolute Body Control,
Sad Lovers and Giants,
Bauhaus,
Skriet,
The Mojo Men,
Soulsonic Force,
Lebanon Hanover,
Yellowson,
The West Coast Pop Art Experimental Band,
Masters at Work,
Arthur Verocai,
Country Joe & The Fish,
48th St. Collective,
Eddi Front,
Subhumans,
Sonny Sharrock,
Eli Mardock,
Kool G Rap & DJ Polo,
EPMD,
Rosa Yemen,
Althea and Donna,
Jerry Gold Smith,
Selector Dub Narcotic,
LL Cool J,
Eric Copeland,
the Soft Cell,
Fifty Foot Hose,
Crime,
Gerry Rafferty,
Ludus,
The Modern Lovers,
Arab on Radar,
The Divine Comedy,
Ultra Naté,
Don Cherry,
Chrome,
Jandek,
The Mighty Diamonds,
Television,
Godley & Creme,
Camouflage,
Captain Beefheart & His Magic Band,
R.M.O.,
The Electric Prunes,
Main Source,
The Skatalites,
New York Dolls,
Sexual Harrassment,
Stereo Dub,
Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone.
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.