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 Bolivia and from Shanghai.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1968 to 1978.
I'm losing my edge.
To all the kids in Accra and Mumbai.
I'm losing my edge to the art-school Beijing 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 1973 at the first Television practice in a loft in New York.
I was working on the mellotron 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 Slave to the techno kids.
I played it at the Hacienda.
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 Duran Duran. All the underground hits.
All Spoonie Gee tracks. I heard you have a vinyl of every Godley & Creme 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 '60s cut and another box set from the '80s.
I hear you're buying a clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Marvin Gaye record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wire,
The Zeros,
The Doors,
Supertramp,
Gabor Szabo,
Ronnie Foster,
La Düsseldorf,
London Community Gospel Choir,
Television Personalities,
Ponytail,
Matthew Bourne,
Mr. Review,
Oblivians,
The Cramps,
David Bowie,
The Golliwogs,
The Motions,
Urselle,
Cecil Taylor,
Tim Buckley,
Jacques Brel,
Duran Duran,
Pylon,
Public Image Ltd.,
The Mighty Diamonds,
Neu!,
The Tremeloes,
Interpol,
Amazonics,
Ossler,
Absolute Body Control,
OOIOO,
The Detroit Cobras,
Echospace,
Bad Manners,
Delta 5,
Donald Byrd,
Roy Ayers Ubiquity,
Warsaw,
Colin Newman,
Lyres,
Goldenarms,
Sound Behaviour,
Soft Machine,
Sun Ra,
48th St. Collective,
The Beau Brummels,
the Soft Cell,
Manfred Mann's Earth Band,
Josef K,
Section 25,
Ash Ra Tempel,
Michelle Simonal,
Captain Beefheart & His Magic Band,
The Mojo Men,
Spandau Ballet,
Bluetip,
Hoover,
Marc Romboy vs. Booka Shade,
the Sonics,
Bobby Hutcherson,
N.O.R.E. Featuring Pharrell,
DeepChord presents Echospace,
Traffic Nightmare, Traffic Nightmare, Traffic Nightmare, Traffic Nightmare.
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.