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 Mauritania and from Hong Kong.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Copenhagen and Glasgow.
I'm losing my edge to the art-school Philadelphia 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Average White Band to the punk kids.
I played it at the 40 Watt.
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 Mo-Dettes. All the underground hits.
All Inner City tracks. I heard you have a vinyl of every Eyeless In Gaza record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Mission of Burma record.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boogie Down Productions,
The West Coast Pop Art Experimental Band,
Nation of Ulysses,
Kerrie Biddell,
The Monochrome Set,
The Human League,
Subhumans,
Larry & the Blue Notes,
The Knickerbockers,
Fear,
Severed Heads,
Reagan Youth,
Intrusion,
Bobby Hutcherson,
Dave Gahan,
The Peanut Butter Conspiracy,
Youth Brigade,
Eden Ahbez,
Henry Cow,
The New Christs,
Infiniti,
Hasil Adkins,
Absolute Body Control,
Scratch Acid,
Loose Ends,
Jesper Dahlback,
8 Eyed Spy,
The Offenders,
Robert Wyatt,
Wire,
Janne Schatter,
Rowland S Howard / Lydia Lunch,
Urselle,
Blancmange,
One Last Wish,
Saccharine Trust,
Delon & Dalcan,
The Dead C,
Lightning Bolt,
Zapp,
Bronski Beat,
James Chance & The Contortions,
The Gap Band,
Jesper Dahlbäck,
Pagans,
Wally Richardson,
Pere Ubu,
Marcia Griffiths,
Eyeless In Gaza,
Sad Lovers and Giants,
Procol Harum,
The Chocolate Watch Band,
The Star Department,
Alice Coltrane,
Babytalk,
The Slits,
Panda Bear,
DeepChord presents Echospace,
Jeff Mills,
The Buckinghams,
Louis and Bebe Barron,
Jandek,
Avey Tare & Kría Brekkan,
kango's stein massive, kango's stein massive, kango's stein massive, kango's stein massive.
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.