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 Rwanda and from Woodstock.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Manchester and Jakarta.
I'm losing my edge to the art-school Mumbai 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 Captain Beefheart 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 Blancmange to the grime 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 Schoolly D. All the underground hits.
All Roy Ayers Ubiquity tracks. I heard you have a vinyl of every Gil Scott-Heron & Brian Jackson record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Slits record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Little Man,
Subhumans,
Wolf Eyes,
Angels of Light & Akron/Family,
Jerry's Kids,
The Shadows of Knight,
The Durutti Column,
Inner City,
London Community Gospel Choir,
The Dead C,
Electric Light Orchestra,
Derrick Morgan,
Shoche,
The Wake,
Absolute Body Control,
The Slackers,
Liliput,
Nik Kershaw,
Matthew Bourne,
Zapp,
The Human League,
B.T. Express,
U.S. Maple,
The Knickerbockers,
The Electric Prunes,
Silicon Teens,
Mark Hollis,
The Men They Couldn't Hang,
Organ,
Moebius,
The Moleskins,
The J.B.'s,
Au Pairs,
Matthew Halsall,
The Remains,
Max Romeo,
Shuggie Otis,
Kango’s Stein Massive,
Barrington Levy,
In Retrospect,
Lower 48,
Hashim,
Albert Ayler,
Depeche Mode,
Theoretical Girls,
The Peanut Butter Conspiracy,
The Martian,
Soft Machine,
Von Mondo,
Donald Byrd,
Skriet,
Bobby Sherman,
Kauko Röyhkä ja Narttu,
Lightning Bolt,
Yusef Lateef,
The Buckinghams,
Frankie Knuckles,
The Invisible,
John Lydon,
Swell Maps,
D'Angelo, D'Angelo, D'Angelo, D'Angelo.
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.