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 Paraguay and from Houston.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Stockholm and Glasgow.
I'm losing my edge to the art-school Bremen 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 Robert Palmer 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 The Trojans to the techno 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 Bush Tetras. All the underground hits.
All Josef K tracks. I heard you have a vinyl of every Stockholm Monsters record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Kenny Larkin record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fluxion,
Marc Almond,
Nick Fraelich,
Isaac Hayes,
Heavy D & The Boyz,
Howard Jones,
Country Teasers,
Essential Logic,
Guru Guru,
John Coltrane,
Loose Ends,
Sam Rivers,
The Birthday Party,
Richard Hell and the Voidoids,
Hot Snakes,
Ohio Players,
Mad Mike,
Alison Limerick,
Audionom,
Bobby Byrd,
ABC,
DJ Sneak,
Mary Jane Girls,
Television,
Andrew Ashong & Theo Parrish,
ABBA,
The Jesus and Mary Chain,
the Association,
Lou Reed & John Cale,
The Pretty Things,
Pantaleimon,
Rapeman,
Wolf Eyes,
Funky Four + One,
Carl Craig,
Fela Kuti,
Patti Smith,
Groovy Waters,
Marshall Jefferson,
Aswad,
Lonnie Liston Smith,
Pole,
Donny Hathaway,
OOIOO,
Colin Newman,
The Litter,
Section 25,
Magazine,
FM Einheit,
Tropical Tobacco,
Tommy Roe,
Surgeon,
Gang Gang Dance,
Anthony Braxton,
Brand Nubian,
Spandau Ballet,
Godley & Creme,
Pylon,
Fugazi,
Vaughan Mason & Crew,
The Mojo Men,
Underground Resistance,
Rhythim Is Rhythim,
Lou Reed, Lou Reed, Lou Reed, Lou Reed.
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.