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 Comoros and from Bremen.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and Johannesburg.
I'm losing my edge to the art-school Houston 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Outsiders to the grunge kids.
I played it at the Crocodile.
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 Blackbyrds. All the underground hits.
All Alice Coltrane tracks. I heard you have a vinyl of every a-ha record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your oboe and bought a marimba.
I hear that you and your band have sold your marimba and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
Harpers Bizarre,
The Last Poets,
Maleditus Sound,
Absolute Body Control,
Mars,
Fear,
Althea and Donna,
The Dead C,
Minutemen,
Lou Reed,
The Victims,
Nils Olav,
Masters at Work,
Erasure,
DNA,
Bronski Beat,
Sam Rivers,
Lonnie Liston Smith,
The Mighty Diamonds,
Amon Düül,
Lafayette Afro Rock Band,
Carl Craig,
The Cowsills,
Royal Trux,
Loose Ends,
Red Lorry Yellow Lorry,
Angels of Light & Akron/Family,
Boogie Down Productions,
Oppenheimer Analysis,
Dark Day,
Todd Rundgren,
Neil Young,
F. McDonald,
Reuben Wilson,
The Music Machine,
The Martian,
Marc Romboy vs. Booka Shade,
Danielle Patucci,
The Birthday Party,
The Techniques,
Essential Logic,
Joe Smooth,
The Fuzztones,
Delon & Dalcan,
Fad Gadget,
Mantronix,
Susan Cadogan,
Black Sheep,
Terrestrial Tones,
The Smoke,
Lakeside,
Byron Stingily,
Alice Coltrane,
X-102,
Isaac Hayes,
Hardrive,
Robert Hood,
a-ha,
Barclay James Harvest,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.