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 Moldova and from Manila.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Cairo and Philadelphia.
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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 Metal Thangz to the grime kids.
I played it at the Spitz.
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 Shoche. All the underground hits.
All Lonnie Liston Smith tracks. I heard you have a vinyl of every Art Ensemble Of Chicago 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 '50s cut and another box set from the '70s.
I hear you're buying a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a EPMD record.
I hear that you and your band have sold your marimba and bought a marimba.
I hear that you and your band have sold your marimba and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monks,
Liaisons Dangereuses,
The Busters,
Bush Tetras,
Malaria!,
Procol Harum,
The Blues Magoos,
Gang Green,
Hashim,
The Monks,
Easy Going,
World's Most,
Yusef Lateef,
Sandy B,
The Doors,
Eurythmics,
Gregory Isaacs,
The Durutti Column,
Lou Reed,
Clear Light,
Mad Mike,
Country Teasers,
The Fortunes,
Technova,
Anthony Braxton,
Fugazi,
Fluxion,
The Residents,
Section 25,
X-102,
Soul II Soul,
The Associates,
Don Cherry,
Black Flag,
Bootsy Collins,
Lou Reed & Metallica,
H. Thieme,
DNA,
The Cramps,
The Mighty Diamonds,
The Misunderstood,
Matthew Bourne,
EPMD,
Ice-T,
Vainqueur,
Motorama,
Cymande,
Kings Of Tomorrow,
Slave,
The Blackbyrds,
The Electric Prunes,
Godley & Creme,
Dennis Brown,
Supertramp,
Swans,
Glenn Branca,
Sugar Minott,
Joy Division,
Kevin Saunderson,
Oppenheimer Analysis,
Slick Rick,
Icehouse,
U.S. Maple, U.S. Maple, U.S. Maple, U.S. Maple.
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.