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 Burkina and from New York.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1970.
I'm losing my edge.
To all the kids in Manila and Edmonton.
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 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 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 Nation of Ulysses to the jazz 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 New York Dolls. All the underground hits.
All Alice Coltrane tracks. I heard you have a vinyl of every Slave 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 '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Model 500 record.
I hear that you and your band have sold your linndrum and bought a guitar.
I hear that you and your band have sold your guitar and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Jay Z And Juelz,
Porter Ricks,
Man Parrish,
Alison Limerick,
Deadbeat,
Thompson Twins,
David Axelrod,
MDC,
Unwound,
The United States of America,
John Coltrane,
One Last Wish,
The Mummies,
The Sonics,
Louis and Bebe Barron,
The Cramps,
Art Ensemble Of Chicago,
X-102,
Super Lover Cee & Casanova Rud,
Bobby Byrd,
Sam Rivers,
Livin' Joy,
Lalo Schifrin,
Charles Mingus,
The Saints,
Lizzy Mercier Descloux,
Beasts of Bourbon,
Ultravox,
The Last Poets,
Notorious BIG live in Amsterdam,
The Fall,
Sunsets and Hearts,
Scratch Acid,
OOIOO,
Deutsch Amerikanische Freundschaft,
Smog,
Marc Romboy vs. Booka Shade,
The Dirtbombs,
Soulsonic Force,
Skarface,
Mission of Burma,
The Skatalites,
Bauhaus,
Grauzone,
Josef K,
Neu!,
Sight & Sound,
The Alarm Clocks,
Kango’s Stein Massive,
Pete Rock & C.L. Smooth,
Man Eating Sloth,
The Barracudas,
Barry Ungar,
The Motions,
Icehouse,
Captain Beefheart & His Magic Band,
Minor Threat,
Roy Ayers Ubiquity,
Steve Hackett,
Black Moon,
Absolute Body Control,
DNA,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
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.