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 Denmark and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Philadelphia and Milan.
I'm losing my edge to the art-school Houston 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 sitar sounds with much patience.
I was there when Lou Reed 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 Lafayette Afro Rock Band to the jazz kids.
I played it at Cafe Wha.
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 Andrew Hill. All the underground hits.
All Ajijia Myrayebe tracks. I heard you have a vinyl of every Public Enemy 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 '70s cut and another box set from the '90s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Sixth Finger record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Blackbyrds,
8 Eyed Spy,
Thinking Fellers Union Local 282,
Swell Maps,
Wings,
One Last Wish,
Minutemen,
Sexual Harrassment,
Bootsy's Rubber Band,
The West Coast Pop Art Experimental Band,
Eric B and Rakim,
The Gun Club,
EPMD,
Gang of Four,
Thee Headcoats,
Aaron Thompson,
Rahsaan Roland Kirk,
Joensuu 1685,
The Remains,
Dawn Penn,
Crime,
Bootsy Collins,
Gastr Del Sol,
Public Image Ltd.,
Carl Craig,
Warren Ellis,
Kauko Röyhkä ja Narttu,
Buzzcocks,
Gichy Dan,
Magma,
The Golliwogs,
Desert Stars,
The Detroit Cobras,
Simply Red,
The Residents,
Big Daddy Kane,
Adolescents,
New York Dolls,
Pierre Henry,
Sällskapet,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Gap Band,
The Move,
Ash Ra Tempel,
The Skatalites,
The Tremeloes,
Barbara Tucker,
Amon Düül II,
Banda Bassotti,
The Black Dice,
Anakelly,
UT,
Fad Gadget,
Eurythmics,
Röyhkä ja Rättö ja Lehtisalo,
Brothers Johnson,
Model 500,
Los Fastidios,
Kaleidoscope,
Scan 7,
Excepter,
Jerry's Kids,
Glambeats Corp., Glambeats Corp., Glambeats Corp., Glambeats Corp..
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.