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 Costa Rica and from Seoul.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Tehran.
I'm losing my edge to the art-school Manchester 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the oboe 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 Swell Maps to the grime kids.
I played it at CBGB's.
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 Röyhkä ja Rättö ja Lehtisalo. All the underground hits.
All The Beau Brummels tracks. I heard you have a vinyl of every Girls At Our Best! record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
a-ha,
Yusef Lateef,
Maleditus Sound,
Eve St. Jones,
Nils Olav,
June of 44,
Urselle,
Altered Images,
The Motions,
Lizzy Mercier Descloux,
Avey Tare's Slasher Flicks,
Michelle Simonal,
The Techniques,
Marvin Gaye,
Bobby Hutcherson,
Jesper Dahlback,
The Saints,
James Chance & The Contortions,
Eli Mardock,
Rakim,
Scion,
Notorious Big And Bone Thugs,
Danielle Patucci,
Lou Reed & John Cale,
Supertramp,
Dark Day,
Josef K,
Joe Smooth,
Rotary Connection,
The Gories,
The Peanut Butter Conspiracy,
Manfred Mann's Earth Band,
Franke,
The Electric Prunes,
Das Ding,
Chris Corsano,
Roy Ayers Ubiquity,
Glenn Branca,
The Red Krayola,
Flash Fearless,
Groovy Waters,
Jerry Gold Smith,
Kool Moe Dee,
Television,
Harry Pussy,
Ornette Coleman,
Bobby Sherman,
Country Joe & The Fish,
Zero Boys,
Darondo,
Lee Hazlewood,
MC5,
Rod Modell,
the Slits,
Loose Ends,
Grauzone,
Depeche Mode,
Warsaw,
The Golliwogs,
Jesper Dahlbäck,
Lindisfarne, Lindisfarne, Lindisfarne, Lindisfarne.
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.