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 Monaco and from Spokane.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1970.
I'm losing my edge.
To all the kids in Milan and Lagos.
I'm losing my edge to the art-school Manchester 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 chamberlin 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 Gil Scott-Heron & Brian Jackson to the techno kids.
I played it at CBGB's.
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 Louis and Bebe Barron. All the underground hits.
All Pussy Galore tracks. I heard you have a vinyl of every Terrestrial Tones 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 '70s cut and another box set from the '90s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Talk Talk,
Soul II Soul,
Ultimate Spinach,
Vladislav Delay,
Vainqueur,
Robert Hood,
Boz Scaggs,
Kurtis Blow,
Roger Hodgson,
Kevin Saunderson,
Byron Stingily,
Charles Mingus,
Nirvana,
Basic Channel,
Kaleidoscope,
Q and Not U,
Bobby Hutcherson,
Circle Jerks,
De La Soul & Jungle Brothers,
Outsiders,
Bluetip,
The Motions,
Be Bop Deluxe,
New Age Steppers,
Heavy D & The Boyz,
Gregory Isaacs,
Silicon Teens,
Electric Light Orchestra,
Erykah Badu,
Dark Day,
Deakin,
Y Pants,
Das Ding,
Lindisfarne,
John Foxx,
Warren Ellis,
Rekid,
James White and The Blacks,
Marvin Gaye,
The Leaves,
Red Lorry Yellow Lorry,
The Smoke,
JFA,
The American Breed,
Gil Scott Heron,
Graham Central Station,
The Evens,
Model 500,
Don Cherry,
Kenny Larkin,
Eli Mardock,
Mark Hollis,
The Moody Blues,
Infiniti,
Andrew Hill,
Siouxsie and the Banshees,
Goldenarms,
Arab on Radar,
Ohio Players,
The Fire Engines,
Frankie Knuckles,
Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade.
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.