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 Netherlands and from Winnipeg.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Paris and Manchester.
I'm losing my edge to the art-school Manchester 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the harpsichord sounds with much patience.
I was there when Donald Fagen 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 Urselle to the punk kids.
I played it at the Hacienda.
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 Liliput. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every the Germs 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 '70s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lightning Bolt,
Jeff Mills,
Hasil Adkins,
Ronan,
Letta Mbulu,
the Swans,
Sam Rivers,
Gichy Dan,
Sexual Harrassment,
David McCallum,
Moss Icon,
This Heat,
Kerri Chandler,
Clear Light,
Amazonics,
Popol Vuh,
Roxy Music,
Anthony Braxton,
The Mighty Diamonds,
Dual Sessions,
Metal Thangz,
Selector Dub Narcotic,
The Durutti Column,
Andrew Ashong & Theo Parrish,
Traffic Nightmare,
These Immortal Souls,
Marcia Griffiths,
Blake Baxter,
Country Teasers,
Johnny Osbourne,
Funkadelic,
Oppenheimer Analysis,
Sällskapet,
Talk Talk,
Q and Not U,
Radio Birdman,
China Crisis,
Cameo,
Liaisons Dangereuses,
The Grass Roots,
Rakim,
The Seeds,
Con Funk Shun,
Gian Franco Pienzio,
New York Dolls,
Peter Gordon & Love of Life Orchestra,
Soft Machine,
Jesper Dahlback,
the Slits,
Pole,
Man Eating Sloth,
Lonnie Liston Smith,
Major Organ And The Adding Machine,
Lungfish,
D'Angelo,
Patti Smith,
Electric Light Orchestra,
Kerrie Biddell,
Marshall Jefferson,
Tropical Tobacco,
Dave Gahan,
Public Enemy, Public Enemy, Public Enemy, Public Enemy.
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.