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 Turkey and from Salvador.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and Bremen.
I'm losing my edge to the art-school Woodstock 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the chamberlin 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 Andrew Hill to the grime 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 Soft Machine. All the underground hits.
All Amazonics tracks. I heard you have a vinyl of every Spandau Ballet record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Section 25 record.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
Royal Trux,
Eddi Front,
Stetsasonic,
Glambeats Corp.,
Pussy Galore,
The Cramps,
The Dave Clark Five,
The Cowsills,
Derrick May,
Kevin Saunderson,
Nation of Ulysses,
Heaven 17,
John Foxx,
Red Lorry Yellow Lorry,
Major Organ And The Adding Machine,
Bootsy's Rubber Band,
Lonnie Liston Smith,
Pantaleimon,
The Mighty Diamonds,
Donald Byrd,
Roxette,
These Immortal Souls,
La Düsseldorf,
Max Romeo,
Neu!,
David McCallum,
Kerri Chandler,
Soulsonic Force,
Ash Ra Tempel,
Black Bananas,
Rites of Spring,
It's A Beautiful Day,
Dual Sessions,
Ossler,
Nick Cave & The Bad Seeds,
Gang Starr,
Bizarre Inc.,
Drive Like Jehu,
Boz Scaggs,
the Germs,
Nik Kershaw,
Eric Copeland,
The American Breed,
Mo-Dettes,
Notorious BIG live in Amsterdam,
Wings,
The Offenders,
Vladislav Delay,
The Divine Comedy,
Strawberry Alarm Clock,
Fat Boys,
The Seeds,
Los Fastidios,
The Move,
Minutemen,
Rufus Thomas,
Eric Dolphy,
The Red Krayola,
Ludus,
Terry Callier, Terry Callier, Terry Callier, Terry Callier.
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.