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 Croatia and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1975.
I'm losing my edge.
To all the kids in Toronto and Beijing.
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 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 Roy Ayers Ubiquity to the funk kids.
I played it at the Hacienda.
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 Brass Construction. All the underground hits.
All Red Lorry Yellow Lorry tracks. I heard you have a vinyl of every The Fire Engines record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Bluetip record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warren Ellis,
Ajijia Myrayebe,
Peter Gordon & Love of Life Orchestra,
Nico,
X-101,
The J.B.'s,
The Blackbyrds,
Pantytec,
Drexciya,
Lou Christie,
Be Bop Deluxe,
the Sonics,
Scratch Acid,
Arab on Radar,
The Blues Magoos,
Major Organ And The Adding Machine,
The Fuzztones,
China Crisis,
Agent Orange,
Minny Pops,
Severed Heads,
Scion,
Fifty Foot Hose,
John Coltrane,
The Doors,
Brand Nubian,
Funky Four + One,
Lungfish,
The Skatalites,
Erasure,
Radiopuhelimet,
The Men They Couldn't Hang,
Mars,
Outsiders,
The Busters,
Pete Rock & C.L. Smooth,
The Techniques,
Big Daddy Kane,
Gang Green,
Y Pants,
The Victims,
Vladislav Delay,
Maurizio,
Fat Boys,
The Dave Clark Five,
Althea and Donna,
Jandek,
Bobby Sherman,
Kool G Rap & DJ Polo,
New Order,
the Slits,
The Sonics,
The Offenders,
Hardrive,
UT,
Nik Kershaw,
New York Dolls,
The Angels of Light,
Amon Düül II,
Yazoo,
Larry & the Blue Notes,
Guru Guru,
The Doobie Brothers, The Doobie Brothers, The Doobie Brothers, The Doobie Brothers.
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.