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 Latvia and from Edmonton.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Madrid and Delhi.
I'm losing my edge to the art-school Paris 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 güiro 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 The Last Poets to the punk kids.
I played it at Trash.
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 DNA. All the underground hits.
All Essential Logic tracks. I heard you have a vinyl of every Fad Gadget record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work 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?
Banda Bassotti,
The United States of America,
H. Thieme,
Technova,
Man Parrish,
Faraquet,
Nas,
Sight & Sound,
Con Funk Shun,
Crime,
Camberwell Now,
Rahsaan Roland Kirk,
Lalo Schifrin,
The Chocolate Watch Band,
Rekid,
Kurtis Blow,
Barrington Levy,
The Fall,
Eddi Front,
Barbara Tucker,
Supertramp,
Ituana,
Sexual Harrassment,
Letta Mbulu,
The Zeros,
The Sound,
Mars,
Art Ensemble Of Chicago,
Black Pus,
Surgeon,
Pylon,
Newcleus,
Be Bop Deluxe,
Electric Prunes,
Shoche,
Vainqueur,
Marcia Griffiths,
Avey Tare's Slasher Flicks,
LL Cool J,
The Dead C,
Camron Feat. Jay Z And Juelz,
Archie Shepp,
Massinfluence,
Buzzcocks,
Boz Scaggs,
Sällskapet,
Amon Düül II,
The Music Machine,
Jeff Mills,
Crooked Eye,
Japan,
Dark Day,
MDC,
Patti Smith,
Dr. Dre and Snoop Doggy Dog,
KRS-One,
Funky Four + One,
Crispian St. Peters,
Urselle,
Cluster,
Ajijia Myrayebe,
Jacob Miller,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.