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 Korea North and from Paris.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Glasgow and Beijing.
I'm losing my edge to the art-school London 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 mellotron sounds with much patience.
I was there when David Bowie 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 Japan to the electroclash kids.
I played it at Cafe Wha.
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 Nirvana. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every Moss Icon 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 '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Röyhkä ja Rättö ja Lehtisalo 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?
Rekid,
John Foxx,
Slave,
Fifty Foot Hose,
China Crisis,
The Stooges,
Young Marble Giants,
Shuggie Otis,
Clear Light,
The Grass Roots,
Kenny Larkin,
The Shadows of Knight,
Skaos,
Gabor Szabo,
Neu!,
Avey Tare's Slasher Flicks,
Lonnie Liston Smith,
Bang On A Can,
Ajijia Myrayebe,
Sad Lovers and Giants,
The Flesh Eaters,
the Normal,
Andrew Hill,
Stereo Dub,
Captain Beefheart & His Magic Band,
Dark Day,
Erykah Badu,
Unwound,
Hasil Adkins,
Animal Collective,
Motorama,
Röyhkä ja Rättö ja Lehtisalo,
Jeru the Damaja,
The West Coast Pop Art Experimental Band,
Jeff Mills,
The Misunderstood,
Grandmaster Flash and the Furious Five,
Main Source,
The Move,
Avey Tare,
Malaria!,
Archie Shepp,
Scan 7,
Tears for Fears,
Franke,
John Holt,
Bob Dylan,
Television,
B.T. Express,
Half Japanese,
Louis and Bebe Barron,
R.M.O.,
Television Personalities,
Dennis Brown,
A Certain Ratio,
The Toasters,
Bauhaus,
Sällskapet,
Hardrive,
Sandy B,
Rotary Connection,
Matthew Halsall,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.