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 Qatar and from Taipei.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Madrid and Jakarta.
I'm losing my edge to the art-school Tokyo 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 rhodes sounds with much patience.
I was there when Tom Verlaine 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 Alice Coltrane to the grime kids.
I played it at the Roxy.
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 Motorama. All the underground hits.
All Eden Ahbez tracks. I heard you have a vinyl of every The United States of America record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Motorama,
PIL,
Zapp,
Harpers Bizarre,
Ponytail,
Curtis Mayfield,
It's A Beautiful Day,
Amon Düül II,
Judy Mowatt,
Isaac Hayes,
Supertramp,
Ralphi Rosario,
Louis and Bebe Barron,
These Immortal Souls,
Rapeman,
Danielle Patucci,
Gang Gang Dance,
Oppenheimer Analysis,
The Cowsills,
Suicide,
Banda Bassotti,
Aaron Thompson,
The Busters,
Saccharine Trust,
Glenn Branca,
Siglo XX,
Roy Ayers,
Selector Dub Narcotic,
A Flock of Seagulls,
Flipper,
Girls At Our Best!,
Infiniti,
Bronski Beat,
Can,
Steve Hackett,
Mad Mike,
Letta Mbulu,
L. Decosne,
Bootsy's Rubber Band,
Q and Not U,
Kerrie Biddell,
John Foxx,
June Days,
Eric Dolphy,
Nico,
Tommy Roe,
Black Moon,
Interpol,
Mission of Burma,
Visionaries,LMNO, T- Love & Iriscience,
Popol Vuh,
World's Most,
48th St. Collective,
The Gap Band,
Camberwell Now,
New Order,
The Blues Magoos,
MDC,
Colin Newman,
Soulsonic Force,
the Bar-Kays,
The West Coast Pop Art Experimental Band,
Gil Scott Heron,
The Sound, The Sound, The Sound, The Sound.
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.