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 Macedonia and from Edmonton.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Madrid and Woodstock.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the chamberlin 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 Scott Walker to the punk kids.
I played it at the Spitz.
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 The Searchers. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every Eurythmics 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 '70s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warren Ellis,
Vaughan Mason & Crew,
Sandy B,
The Jesus and Mary Chain,
Magma,
The Blackbyrds,
Peter & Gordon,
Delon & Dalcan,
Schoolly D,
Ronnie Foster,
Amon Düül,
Laurel Aitken,
Bobby Sherman,
Jimmy McGriff,
The Gap Band,
Ornette Coleman,
Liliput,
Excepter,
Lou Christie,
Peter Gordon & Love of Life Orchestra,
Wings,
Supertramp,
D'Angelo,
Todd Terry,
Electric Light Orchestra,
The Smoke,
Skriet,
Freddie Wadling,
Lafayette Afro Rock Band,
Bob Dylan,
Marcia Griffiths,
Sonny Sharrock,
Deutsch Amerikanische Freundschaft,
Sight & Sound,
X-102,
Byron Stingily,
ABBA,
Johnny Osbourne,
Jawbox,
Buzzcocks,
Aaron Thompson,
Graham Central Station,
Frankie Knuckles,
Easy Going,
Procol Harum,
The Gun Club,
Popol Vuh,
Kerrie Biddell,
Rotary Connection,
Black Flag,
The Shadows of Knight,
The Alarm Clocks,
Lou Reed & John Cale,
Bill Near,
DJ Style,
Organ,
The Detroit Cobras,
Pagans,
Unwound,
Arcadia,
Donny Hathaway,
Negative Approach,
Pulsallama,
The Techniques,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.