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 United Kingdom and from Bologna.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Spokane and Philadelphia.
I'm losing my edge to the art-school Cairo 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 guitar 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 Minnie Riperton to the crunk 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 Public Enemy. All the underground hits.
All Echo & the Bunnymen tracks. I heard you have a vinyl of every The Monks record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Hardrive record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mars,
Kango’s Stein Massive,
Ralphi Rosario,
Eric Dolphy,
The Selecter,
Q65,
Wings,
Jesper Dahlbäck,
Shoche,
Fatback Band,
X-101,
The Music Machine,
Beasts of Bourbon,
Arthur Verocai,
Lou Reed & John Cale,
Notorious Big And Bone Thugs,
Röyhkä ja Rättö ja Lehtisalo,
The Litter,
Be Bop Deluxe,
Lucky Dragons,
Public Image Ltd.,
Camberwell Now,
Das Ding,
Crooked Eye,
Eden Ahbez,
Rufus Thomas,
Gerry Rafferty,
Adolescents,
The Real Kids,
Dark Day,
Lightning Bolt,
John Lydon,
Sunsets and Hearts,
The Techniques,
Rowland S Howard / Lydia Lunch,
Don Cherry,
The Standells,
The Human League,
Soulsonic Force,
The New Christs,
Nils Olav,
Crime,
Los Fastidios,
Althea and Donna,
Gang Gang Dance,
E-Dancer,
The United States of America,
Byron Stingily,
Country Joe & The Fish,
Lonnie Liston Smith,
Roy Ayers Ubiquity,
The Victims,
Bootsy Collins,
Rosa Yemen,
Fugazi,
Lalo Schifrin,
Fifty Foot Hose,
Ohio Players,
Hashim,
The Martian,
A Flock of Seagulls,
The J.B.'s, The J.B.'s, The J.B.'s, The J.B.'s.
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.