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 Philippines and from Lyon.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Manila and Sao Paulo.
I'm losing my edge to the art-school Mexico City 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 oboe sounds with much patience.
I was there when Michael McDonald 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 Nico to the grunge kids.
I played it at the Crocodile.
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 Pharaoh Sanders and the Fire Engines. All the underground hits.
All The Residents tracks. I heard you have a vinyl of every Ten City 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 '60s cut and another box set from the '80s.
I hear you're buying a rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Mojo Men record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Velvet Underground,
Bluetip,
Carl Craig,
Section 25,
Lalann,
Bang on a Can All-Stars,
Tears for Fears,
Rotary Connection,
The Human League,
Stockholm Monsters,
Jimmy McGriff,
The Durutti Column,
Saccharine Trust,
Tropical Tobacco,
Andrew Ashong & Theo Parrish,
Sun Ra Arkestra,
Amon Düül II,
Radiopuhelimet,
Sun Ra,
Crime,
Skarface,
A Certain Ratio,
Isaac Hayes,
Sam Rivers,
Black Sheep,
The Victims,
L. Decosne,
Curtis Mayfield,
Brick,
The Blues Magoos,
Excepter,
The Martian,
Lou Reed & John Cale,
The Red Krayola,
Harry Pussy,
De La Soul & Jungle Brothers,
Whodini,
Country Joe & The Fish,
Absolute Body Control,
Joe Smooth,
Bang On A Can,
Lalo Schifrin,
Country Teasers,
Siglo XX,
B.T. Express,
Grandmaster Flash and the Furious Five,
Rod Modell,
New Age Steppers,
Fear,
Livin' Joy,
Scrapy,
Oneida,
Lou Christie,
Deadbeat,
Bauhaus,
Peter & Gordon,
Teenage Jesus and the Jerks,
Supertramp,
Lonnie Liston Smith,
Fifty Foot Hose,
Ossler,
Sixth Finger, Sixth Finger, Sixth Finger, Sixth Finger.
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.