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 Bahrain and from Philadelphia.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1979.
I'm losing my edge.
To all the kids in Houston and Salvador.
I'm losing my edge to the art-school Madrid 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 organ 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 Eurythmics to the rock kids.
I played it at the 40 Watt.
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 Pop Group. All the underground hits.
All Gil Scott Heron tracks. I heard you have a vinyl of every Flash Fearless record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your mellotron and bought a snare.
I hear that you and your band have sold your snare and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
London Community Gospel Choir,
Rosa Yemen,
Little Man,
Black Bananas,
Delon & Dalcan,
Sister Nancy,
Michelle Simonal,
Man Eating Sloth,
The Associates,
The Skatalites,
Monolake,
Robert Hood,
Groovy Waters,
Erykah Badu,
Albert Ayler,
Girls At Our Best!,
The Fuzztones,
Model 500,
Kevin Saunderson,
Bobby Byrd,
The Zeros,
Hoover,
Strawberry Alarm Clock,
Sam Rivers,
Lindisfarne,
Scott Walker + Sunn O))),
Susan Cadogan,
Davy DMX,
Rhythm & Sound,
Peter & Gordon,
Hardrive,
Moss Icon,
The Evens,
Gil Scott Heron,
Matthew Halsall,
U.S. Maple,
Richard Hell and the Voidoids,
Deakin,
Kerrie Biddell,
Kool G Rap & DJ Polo,
Piero Umiliani,
Sly & The Family Stone,
The Birthday Party,
Josef K,
Electric Prunes,
Fluxion,
the Sonics,
The Mojo Men,
Al Stewart,
Lizzy Mercier Descloux,
Suburban Knight,
The Five Americans,
Clear Light,
Todd Rundgren,
Oneida,
48th St. Collective,
The Smiths,
T.S.O.L.,
Soft Machine,
Sixth Finger,
UT, UT, UT, UT.
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.