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 Grenada and from Woodstock.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Tehran.
I'm losing my edge to the art-school Lyon 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 Josef K practice in a loft in Edinburgh.
I was working on the harpsichord sounds with much patience.
I was there when Holger Czukay 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 Max Romeo to the grunge 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 Sound Behaviour. All the underground hits.
All De La Soul & Jungle Brothers tracks. I heard you have a vinyl of every The Music Machine record on German import.
I heard that you have a white label of every seminal punk 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 sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a K-Klass record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doors,
Traffic Nightmare,
Spandau Ballet,
Alton Ellis,
Pete Rock & C.L. Smooth,
The Misunderstood,
Bill Near,
K-Klass,
Fela Kuti,
Althea and Donna,
Rosa Yemen,
The Gladiators,
the Slits,
The New Christs,
EPMD,
Kango’s Stein Massive,
Aaron Thompson,
The Knickerbockers,
Beasts of Bourbon,
Alice Coltrane,
the Bar-Kays,
Organ,
The Five Americans,
Pantytec,
Magazine,
Sunsets and Hearts,
The Blackbyrds,
AZ,
The Saints,
Hardrive,
Lou Christie,
8 Eyed Spy,
The Litter,
The Selecter,
Roy Ayers Ubiquity,
Tropical Tobacco,
Bobby Hutcherson,
John Foxx,
Blancmange,
The Gories,
Kings Of Tomorrow,
Liaisons Dangereuses,
Soul Sonic Force,
Eric Copeland,
Section 25,
Bob Dylan,
The Red Krayola,
Kool Moe Dee,
Yellowson,
Magma,
The Flesh Eaters,
The Star Department,
Amon Düül II,
Rod Modell,
The Dave Clark Five,
Moss Icon,
Audionom,
Supertramp,
Brothers Johnson,
Surgeon,
Faraquet,
Cybotron,
Thee Headcoats,
Crispy Ambulance, Crispy Ambulance, Crispy Ambulance, Crispy Ambulance.
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.