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 China and from Lille.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Cairo and Milan.
I'm losing my edge to the art-school Tokyo 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 arpeggiator 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 Leonard Cohen to the grunge 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 Tommy Roe. All the underground hits.
All Notorious Big And Bone Thugs tracks. I heard you have a vinyl of every Procol Harum 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 '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zero Boys,
Sugar Minott,
Piero Umiliani,
Ultra Naté,
MDC,
Hoover,
Brand Nubian,
Nation of Ulysses,
The Moleskins,
Jeru the Damaja,
The Remains,
Bobby Byrd,
Tubeway Army,
The Velvet Underground,
Sonny Sharrock,
The Cowsills,
Joey Negro,
Bang On A Can,
Banda Bassotti,
X-Ray Spex,
Mr. Review,
Jacques Brel,
The Gories,
Funkadelic,
Drexciya,
The Electric Prunes,
The Residents,
The J.B.'s,
Symarip,
Cluster,
Rekid,
The Fugs,
The Seeds,
48th St. Collective,
Roy Ayers,
Unwound,
Howard Jones,
Eden Ahbez,
Sixth Finger,
Eric Copeland,
DNA,
Dave Gahan,
The Modern Lovers,
Deadbeat,
Alton Ellis,
The Black Dice,
Sexual Harrassment,
Rakim,
Easy Going,
Chrome,
Surgeon,
Eyeless In Gaza,
Amon Düül,
Max Romeo,
Donald Byrd,
Boz Scaggs,
Icehouse,
Sly & The Family Stone,
Radio Birdman,
Whodini,
Angry Samoans,
The Moody Blues,
Beasts of Bourbon,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.