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 Gambia and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Winnipeg and Glasgow.
I'm losing my edge to the art-school Portland 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 1984 at the first Arcadia practice in a loft in London.
I was working on the mellotron 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 Sun City Girls to the electroclash 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 Rekid. All the underground hits.
All Erasure tracks. I heard you have a vinyl of every The Doors 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 a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Grass Roots record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick Morgan,
Bang on a Can All-Stars,
X-102,
Rod Modell,
Au Pairs,
The Names,
Notorious Big And Bone Thugs,
Popol Vuh,
Soft Machine,
Sugar Minott,
Warren Ellis,
kango's stein massive,
Jacob Miller,
Yellowson,
Grauzone,
Sam Rivers,
Section 25,
The Gladiators,
Mandrill,
Subhumans,
Arthur Verocai,
Zapp,
The Seeds,
The Sonics,
The Saints,
Icehouse,
New Order,
The Neon Judgement,
Kaleidoscope,
Interpol,
The Young Rascals,
Sandy B,
Tres Demented,
Pulsallama,
La Düsseldorf,
James White and The Blacks,
PIL,
Nik Kershaw,
The Monochrome Set,
Crime,
Alice Coltrane,
Angry Samoans,
Lizzy Mercier Descloux,
June of 44,
Rekid,
Max Romeo,
Lalo Schifrin,
Magazine,
Boogie Down Productions,
Brand Nubian,
Easy Going,
Make Up,
Sonny Sharrock,
Nation of Ulysses,
Teenage Jesus and the Jerks,
Q and Not U,
Roxette,
Lalann,
Funkadelic,
Whodini,
Thompson Twins,
John Cale,
Country Teasers,
K-Klass, K-Klass, K-Klass, K-Klass.
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.