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 Bologna.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1976.
I'm losing my edge.
To all the kids in Madrid and Woodstock.
I'm losing my edge to the art-school Edmonton 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 spring reverb 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 The Vogues to the jazz kids.
I played it at the Spitz.
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 Talk Talk. All the underground hits.
All Au Pairs tracks. I heard you have a vinyl of every The Music Machine record on German import.
I heard that you have a white label of every seminal grime 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 a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Mary Jane Girls record.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nik Kershaw,
Ludus,
The Offenders,
The Black Dice,
Orchestral Manoeuvres in the Dark,
Lou Reed,
Fat Boys,
Amon Düül,
Trumans Water,
The Techniques,
Man Parrish,
Wally Richardson,
Joensuu 1685,
Carl Craig,
Minny Pops,
The Five Americans,
AZ,
Sarah Menescal,
Thinking Fellers Union Local 282,
John Cale,
Flamin' Groovies,
Second Layer,
Major Organ And The Adding Machine,
Chris Corsano,
Negative Approach,
Desert Stars,
Livin' Joy,
The Martian,
Robert Görl,
Sixth Finger,
Basic Channel,
Howard Jones,
Fela Kuti,
Neu!,
The Detroit Cobras,
Talk Talk,
Bob Dylan,
The Alarm Clocks,
Graham Central Station,
Eyeless In Gaza,
The Slackers,
Bang On A Can,
Boogie Down Productions,
The Fuzztones,
D'Angelo,
Porter Ricks,
The Mojo Men,
Man Eating Sloth,
The Sisters of Mercy,
Black Flag,
Soft Cell,
Maurizio,
the Normal,
Anakelly,
Jacob Miller,
Todd Terry,
E-Dancer,
Amazonics,
Eurythmics,
The Residents,
The Blackbyrds, The Blackbyrds, The Blackbyrds, The Blackbyrds.
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.