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 Guinea-Bissau and from Columbus.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Spokane and Seoul.
I'm losing my edge to the art-school Taipei 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 linndrum sounds with much patience.
I was there when Holger Czukay 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 cv313 to the funk 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 Avey Tare & Kría Brekkan. All the underground hits.
All Lalann tracks. I heard you have a vinyl of every Country Joe & The Fish record on German import.
I heard that you have a white label of every seminal techno 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 808 and a clarinet 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 spring reverb and bought a snare.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Detroit Cobras,
Pete Rock & C.L. Smooth,
Liliput,
Fear,
Red Lorry Yellow Lorry,
David McCallum,
The United States of America,
Eurythmics,
Ken Boothe,
Byron Stingily,
Negative Approach,
Nick Cave & The Bad Seeds,
Royal Trux,
Scientists,
Ludus,
Sun City Girls,
Terry Callier,
Mission of Burma,
Soft Machine,
Sällskapet,
New York Dolls,
Boz Scaggs,
Jerry Gold Smith,
Crispian St. Peters,
The West Coast Pop Art Experimental Band,
The Mojo Men,
R.M.O.,
Echo & the Bunnymen,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Pole,
The Smiths,
Big Daddy Kane,
Lower 48,
Whodini,
Charles Mingus,
Kango’s Stein Massive,
Faraquet,
The Wake,
X-101,
The Five Americans,
Outsiders,
Gregory Isaacs,
Dave Gahan,
Brand Nubian,
James Chance & The Contortions,
Tropical Tobacco,
The Misunderstood,
Avey Tare's Slasher Flicks,
John Coltrane,
Gang Gang Dance,
Country Teasers,
Tres Demented,
Jeff Lynne,
Barbara Tucker,
Radiopuhelimet,
Glenn Branca,
the Association,
Flipper,
Banda Bassotti,
Kerri Chandler,
T.S.O.L., T.S.O.L., T.S.O.L., T.S.O.L..
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.