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 Algeria and from Toronto.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1978.
I'm losing my edge.
To all the kids in Tokyo and Manchester.
I'm losing my edge to the art-school Tehran 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 Captain Beefheart 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 Gian Franco Pienzio to the rock kids.
I played it at Trash.
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 Fortunes. All the underground hits.
All Barrington Levy tracks. I heard you have a vinyl of every L. Decosne 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 '60s cut and another box set from the '90s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Morten Harket record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kenny Larkin,
The Fall,
The Cure,
New Order,
John Cale,
Section 25,
The Alarm Clocks,
Public Enemy,
Dawn Penn,
JFA,
The Barracudas,
The Associates,
Joe Finger,
Mandrill,
Sun City Girls,
The Smoke,
The Selecter,
R.M.O.,
Mission of Burma,
Nico,
Oppenheimer Analysis,
Louis and Bebe Barron,
Motorama,
One Last Wish,
Icehouse,
T. Rex,
Nik Kershaw,
Marmalade,
Godley & Creme,
Bobbi Humphrey,
Young Marble Giants,
Sunsets and Hearts,
Major Organ And The Adding Machine,
The Beau Brummels,
Q65,
Goldenarms,
Hardrive,
Urselle,
DJ Sneak,
The Dead C,
EPMD,
Avey Tare,
Tomorrow,
Big Daddy Kane,
Camberwell Now,
The Fire Engines,
ABC,
Bronski Beat,
Byron Stingily,
Vaughan Mason & Crew,
Danielle Patucci,
Magma,
Arab on Radar,
Avey Tare & Kría Brekkan,
Gang Gang Dance,
The Busters,
Piero Umiliani,
MC5,
Ituana,
DJ Style,
Soulsonic Force,
Ossler, Ossler, Ossler, Ossler.
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.