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 Iraq and from Taipei.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1978.
I'm losing my edge.
To all the kids in Cairo and Salvador.
I'm losing my edge to the art-school Calgary 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 David Bowie 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 June Days to the funk kids.
I played it at Trash.
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 Model 500. All the underground hits.
All Boredoms tracks. I heard you have a vinyl of every Sam Rivers 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 '50s cut and another box set from the '70s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Seeds record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
ABBA,
Aswad,
Sonny Sharrock,
Slick Rick,
Half Japanese,
Andrew Hill,
Prince Buster,
Gil Scott-Heron and Jamie xx,
Avey Tare & Kría Brekkan,
The Monochrome Set,
Graham Central Station,
Boz Scaggs,
Underground Resistance,
La Düsseldorf,
Lou Christie,
The Golliwogs,
The Five Americans,
The Evens,
Scan 7,
Ponytail,
Sun City Girls,
Model 500,
Gichy Dan,
CMW,
Ten City,
Ronnie Foster,
KRS-One,
Gang Gang Dance,
Y Pants,
Mr. Review,
Camberwell Now,
Funkadelic,
Marshall Jefferson,
Au Pairs,
Kenny Larkin,
Mad Mike,
The Martian,
the Slits,
Aloha Tigers,
Stiv Bators,
The Smoke,
Spandau Ballet,
Barclay James Harvest,
Yellowson,
Nick Fraelich,
The Doobie Brothers,
Aural Exciters,
Art Ensemble Of Chicago,
Cybotron,
New Age Steppers,
Todd Rundgren,
Fela Kuti,
The United States of America,
Yusef Lateef,
Rowland S Howard / Lydia Lunch,
Technova,
Lalo Schifrin,
Hasil Adkins,
The Angels of Light,
Althea and Donna,
June Days,
Derrick May,
Scientists,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
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.