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 Sweden and from Copenhagen.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1963 to 1970.
I'm losing my edge.
To all the kids in Salvador and Manchester.
I'm losing my edge to the art-school Bremen 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 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 Al Stewart to the techno kids.
I played it at Trash.
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 Roy Ayers. All the underground hits.
All The Associates tracks. I heard you have a vinyl of every John Holt record on German import.
I heard that you have a white label of every seminal jazz 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 an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Monochrome Set record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Smooth,
H. Thieme,
UT,
Thee Headcoats,
The Cowsills,
It's A Beautiful Day,
ABC,
Lee Hazlewood,
Black Sheep,
Alton Ellis,
Ultramagnetic MC's,
Man Eating Sloth,
Camron Feat. Memphis Bleek And Beenie Seigel,
Bizarre Inc.,
The Red Krayola,
Pete Rock & C.L. Smooth,
Lou Christie,
Pulsallama,
Index,
Stiv Bators,
Arcadia,
Avey Tare's Slasher Flicks,
Joensuu 1685,
Scan 7,
The Doors,
Marcia Griffiths,
Peter & Gordon,
Quantec,
Pantytec,
Pierre Henry,
New York Dolls,
Minny Pops,
Agent Orange,
The Five Americans,
Zapp,
Beasts of Bourbon,
Funkadelic,
Vladislav Delay,
the Slits,
Heaven 17,
Nick Cave & The Bad Seeds,
Procol Harum,
Marshall Jefferson,
The Remains,
Liaisons Dangereuses,
Kaleidoscope,
Donny Hathaway,
Dead Boys,
Underground Resistance,
the Germs,
L. Decosne,
Sonic Youth,
Average White Band,
Silicon Teens,
June of 44,
Neil Young & Crazy Horse,
Roy Ayers,
Connie Case,
Icehouse,
Mission of Burma,
Bad Manners, Bad Manners, Bad Manners, Bad Manners.
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.