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 Brazil and from Manila.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Mumbai and Milan.
I'm losing my edge to the art-school Milan 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 spring reverb 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 Gabor Szabo to the dance 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 Ludus. All the underground hits.
All World's Most tracks. I heard you have a vinyl of every Stereo Dub record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maleditus Sound,
Jacob Miller,
Deepchord,
K-Klass,
Drexciya,
The West Coast Pop Art Experimental Band,
Make Up,
Avey Tare,
The Buckinghams,
The Busters,
Roxy Music,
June Days,
Malaria!,
Desert Stars,
Eric Dolphy,
Gerry Rafferty,
Mission of Burma,
Amazonics,
Magazine,
Sugar Minott,
Barbara Tucker,
Nas,
Ultravox,
Suicide,
The Tremeloes,
Jeru the Damaja,
Selector Dub Narcotic,
Darondo,
Organ,
T.S.O.L.,
Mad Mike,
Symarip,
Harmonia,
The Red Krayola,
H. Thieme,
John Lydon,
One Last Wish,
Easy Going,
Bobby Sherman,
Cameo,
Neil Young,
The Evens,
The Techniques,
the Fania All-Stars,
Vladislav Delay,
The Trojans,
Bobby Hutcherson,
Bobbi Humphrey,
Deakin,
Model 500,
Camouflage,
Roxette,
Barrington Levy,
Aloha Tigers,
Junior Murvin,
These Immortal Souls,
Soul Sonic Force,
Public Enemy,
Lower 48,
Funkadelic,
Oneida,
Lou Christie,
Wire, Wire, Wire, Wire.
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.