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 Slovenia and from Bologna.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Glasgow.
I'm losing my edge to the art-school Shanghai 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 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 Dr. Dre and Snoop Doggy Dog to the grunge kids.
I played it at the Roxy.
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 Kenny Larkin. All the underground hits.
All Shuggie Otis tracks. I heard you have a vinyl of every Gil Scott Heron 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 '80s cut and another box set from the '90s.
I hear you're buying a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Alton Ellis record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
These Immortal Souls,
Gil Scott-Heron & Brian Jackson,
Steve Hackett,
Pete Rock & C.L. Smooth,
Prince Buster,
Robert Wyatt,
New Age Steppers,
Rites of Spring,
Saccharine Trust,
Man Parrish,
Juan Atkins,
Public Enemy,
Albert Ayler,
Soul Sonic Force,
Shuggie Otis,
Sixth Finger,
The Dead C,
World's Most,
Alison Limerick,
T. Rex,
Louis and Bebe Barron,
Parry Music,
Curtis Mayfield,
Oppenheimer Analysis,
The Golliwogs,
Unwound,
Suburban Knight,
Minny Pops,
Soulsonic Force,
The Monochrome Set,
The Misunderstood,
Tears for Fears,
Nirvana,
Nick Fraelich,
Tres Demented,
Brass Construction,
Jimmy McGriff,
Soft Machine,
Angry Samoans,
Sound Behaviour,
Bobby Sherman,
The Last Poets,
Chris & Cosey,
Laurel Aitken,
Ludus,
Reagan Youth,
Sunsets and Hearts,
Hot Snakes,
Sun Ra Arkestra,
Roy Ayers Ubiquity,
Bluetip,
PIL,
Camron Feat. Jay Z And Juelz,
Technova,
Eurythmics,
Gil Scott Heron,
The Walker Brothers,
Fela Kuti,
Captain Beefheart & His Magic Band,
Anthony Braxton,
The Residents,
The West Coast Pop Art Experimental Band,
Fluxion, Fluxion, Fluxion, Fluxion.
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.