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 Swaziland and from Portland.
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 1972.
I'm losing my edge.
To all the kids in Cairo and Houston.
I'm losing my edge to the art-school Mexico City 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 Nile Rodgers 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 Yaz to the jazz kids.
I played it at the Troubador.
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 Drive Like Jehu. All the underground hits.
All Flash Fearless tracks. I heard you have a vinyl of every It's A Beautiful Day record on German import.
I heard that you have a white label of every seminal disco 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 synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Scrapy record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Black Dice,
Clear Light,
Henry Cow,
Mantronix,
Warren Ellis,
Roxette,
Flamin' Groovies,
The Fugs,
Black Moon,
Hashim,
Thinking Fellers Union Local 282,
Joe Finger,
The Fortunes,
Pussy Galore,
The Pop Group,
The United States of America,
T.S.O.L.,
Aswad,
The Misunderstood,
Grandmaster Flash,
Morten Harket,
Neil Young & Crazy Horse,
The Monochrome Set,
Bill Wells,
Gerry Rafferty,
Mad Mike,
Gang Starr,
The Remains,
Nick Fraelich,
Selector Dub Narcotic,
Newcleus,
Freddie Wadling,
Crime,
Mandrill,
Eric B and Rakim,
The Dead C,
The Gap Band,
Harry Pussy,
The Toasters,
Tim Buckley,
Black Sheep,
Outsiders,
Deadbeat,
Jerry's Kids,
Deepchord,
Sexual Harrassment,
Hardrive,
Brothers Johnson,
Jawbox,
Ice-T,
It's A Beautiful Day,
Althea and Donna,
Sun Ra,
Robert Wyatt,
Super Lover Cee & Casanova Rud,
Oneida,
Marshall Jefferson,
Cheater Slicks,
The Chocolate Watch Band,
Scratch Acid,
Pere Ubu, Pere Ubu, Pere Ubu, Pere Ubu.
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.