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 Equatorial Guinea 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 1963 to 1979.
I'm losing my edge.
To all the kids in Lagos and Accra.
I'm losing my edge to the art-school Copenhagen 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the mellotron sounds with much patience.
I was there when Michael McDonald 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 Parry Music to the grunge kids.
I played it at the Troubador.
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 Deutsch Amerikanische Freundschaft. All the underground hits.
All Neil Young & Crazy Horse tracks. I heard you have a vinyl of every Nas record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Archie Shepp record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Little Man,
Rod Modell,
Isaac Hayes,
Eric Copeland,
The Moody Blues,
Aural Exciters,
Lakeside,
The Last Poets,
Quando Quango,
Piero Umiliani,
Joy Division,
Moss Icon,
Kings Of Tomorrow,
The Fire Engines,
The Detroit Cobras,
Minny Pops,
New York Dolls,
DeepChord presents Echospace,
These Immortal Souls,
F. McDonald,
Ken Boothe,
Pagans,
The Fall,
Aloha Tigers,
Schoolly D,
Ornette Coleman,
Second Layer,
Icehouse,
Maurizio,
The Selecter,
New Order,
The Men They Couldn't Hang,
Stereo Dub,
Camberwell Now,
Slick Rick,
The Modern Lovers,
10cc,
Henry Cow,
Warren Ellis,
Lou Christie,
Symarip,
The Moleskins,
Hasil Adkins,
Smog,
Jerry's Kids,
Groovy Waters,
Roxette,
Black Flag,
Los Fastidios,
Absolute Body Control,
Gichy Dan,
Sonic Youth,
The Count Five,
Crispian St. Peters,
Country Teasers,
The Walker Brothers,
Scientists,
Shuggie Otis,
Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra.
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.