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 Congo and from Halifax.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Seoul and Lyon.
I'm losing my edge to the art-school Paris 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 1983 at the first Art of Noise practice in a loft in 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 Todd Terry to the crunk kids.
I played it at the 40 Watt.
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 The Dirtbombs. All the underground hits.
All The Last Poets tracks. I heard you have a vinyl of every Lafayette Afro Rock Band record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an oboe and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Moby Grape record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Louis and Bebe Barron,
Delon & Dalcan,
Scientists,
Oneida,
Deepchord,
Amon Düül,
Ralphi Rosario,
Pharaoh Sanders and the Fire Engines,
Masters at Work,
The Busters,
Michelle Simonal,
Ornette Coleman,
Bang on a Can All-Stars,
Blancmange,
The Shadows of Knight,
Rufus Thomas,
Kerri Chandler,
Stetsasonic,
Jeff Lynne,
The Wake,
Mission of Burma,
Matthew Halsall,
Sister Nancy,
Eyeless In Gaza,
Byron Stingily,
UT,
World's Most,
Jerry's Kids,
The Fuzztones,
Parry Music,
Al Stewart,
David McCallum,
The Neon Judgement,
Chrome,
The Toasters,
The Gories,
Scott Walker + Sunn O))),
Popol Vuh,
Frankie Knuckles,
Gerry Rafferty,
Aloha Tigers,
Warsaw,
John Holt,
Ludus,
Amon Düül II,
The Golliwogs,
Barclay James Harvest,
Suicide,
a-ha,
Gabor Szabo,
Boz Scaggs,
Black Sheep,
Lafayette Afro Rock Band,
These Immortal Souls,
Neil Young & Crazy Horse,
Sam Rivers,
Be Bop Deluxe,
Excepter,
Public Image Ltd.,
Ken Boothe,
The Cure,
Junior Murvin,
Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu.
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.