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 Sri Lanka and from Winnipeg.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Philadelphia.
I'm losing my edge to the art-school Philadelphia 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 spring reverb 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 Bobby Byrd to the jazz 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 Lou Reed & Metallica. All the underground hits.
All These Immortal Souls tracks. I heard you have a vinyl of every The Blues Magoos record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Desert Stars record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
Zapp,
Tom Boy,
Quantec,
Magazine,
the Bar-Kays,
Panda Bear,
Bluetip,
Soulsonic Force,
Lou Reed & John Cale,
Accadde A,
Joensuu 1685,
Heaven 17,
Vaughan Mason & Crew,
Andrew Ashong & Theo Parrish,
Cybotron,
the Germs,
48th St. Collective,
Joe Finger,
Iggy Pop,
Average White Band,
X-Ray Spex,
It's A Beautiful Day,
Funkadelic,
Cecil Taylor,
Q and Not U,
Adolescents,
the Fania All-Stars,
The Music Machine,
Kaleidoscope,
Ohio Players,
Avey Tare's Slasher Flicks,
Moby Grape,
The Fall,
Liaisons Dangereuses,
Hardrive,
Skarface,
Derrick Morgan,
Camberwell Now,
Sad Lovers and Giants,
The Human League,
Charles Mingus,
The Dead C,
Alice Coltrane,
La Düsseldorf,
Heavy D & The Boyz,
Radiopuhelimet,
Aloha Tigers,
Grey Daturas,
Kevin Saunderson,
Rowland S Howard / Lydia Lunch,
MC5,
The Moleskins,
The Gladiators,
Ice-T,
Soft Machine,
Essential Logic,
James Chance & The Contortions,
DeepChord presents Echospace,
Kerri Chandler,
Desert Stars,
Main Source,
ABC, ABC, ABC, ABC.
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.