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 Morocco and from New York.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Madrid and Portland.
I'm losing my edge to the art-school Portland 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Electric Prunes to the disco kids.
I played it at the Astoria.
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 Shoche. All the underground hits.
All Wally Richardson tracks. I heard you have a vinyl of every Quando Quango record on German import.
I heard that you have a white label of every seminal techno 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 linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Echospace record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
K-Klass,
Marshall Jefferson,
Marc Romboy vs. Booka Shade,
Terrestrial Tones,
Notorious Big And Bone Thugs,
OOIOO,
Flash Fearless,
The Peanut Butter Conspiracy,
Cecil Taylor,
The Motions,
Camron Feat. Memphis Bleek And Beenie Seigel,
Black Moon,
Judy Mowatt,
Goldenarms,
Lucky Dragons,
This Heat,
Underground Resistance,
Minnie Riperton,
Loose Ends,
Faraquet,
Parry Music,
Kaleidoscope,
Wire,
Monks,
Stereo Dub,
Agitation Free,
The Happenings,
World's Most,
Electric Light Orchestra,
Public Enemy,
the Human League,
Mars,
Andrew Hill,
the Slits,
Funkadelic,
The Angels of Light,
Sister Nancy,
Niagra,
Roger Hodgson,
Frankie Knuckles,
Jesper Dahlbäck,
The Vogues,
Mission of Burma,
Model 500,
Johnny Clarke,
Echo & the Bunnymen,
Tim Buckley,
Negative Approach,
Kas Product,
Schoolly D,
Godley & Creme,
Quantec,
Jeru the Damaja,
Drexciya,
Fatback Band,
Ituana,
Captain Beefheart & His Magic Band,
Bootsy's Rubber Band,
Mr. Review,
Super Lover Cee & Casanova Rud,
Girls At Our Best!,
The Seeds,
Brass Construction,
Yazoo,
Funky Four + One, Funky Four + One, Funky Four + One, Funky Four + One.
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.