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 Gabon and from Tehran.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Lyon.
I'm losing my edge to the art-school Edmonton 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the mellotron sounds with much patience.
I was there when Donald Fagen 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 Charles Mingus to the electroclash 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 The Mojo Men. All the underground hits.
All Second Layer tracks. I heard you have a vinyl of every Marine Girls 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 '60s cut and another box set from the '80s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Bill Near record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
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,
Echospace,
Ronnie Foster,
Marmalade,
Marc Almond,
Todd Rundgren,
The Divine Comedy,
Jesper Dahlback,
Spandau Ballet,
The Grass Roots,
UT,
Boredoms,
Graham Central Station,
Technova,
The Alarm Clocks,
Fad Gadget,
the Normal,
This Heat,
Tim Buckley,
Pagans,
Amon Düül II,
Scrapy,
U.S. Maple,
Supertramp,
Wighnomy Brothers & Robag Wruhme,
Ornette Coleman,
CMW,
The Cramps,
Joyce Sims,
Donny Hathaway,
Scratch Acid,
Vladislav Delay,
Drive Like Jehu,
The Techniques,
Oneida,
Neil Young,
The Dead C,
Mandrill,
Sällskapet,
Idris Muhammad,
Pantytec,
Wire,
Ludus,
Aloha Tigers,
Notorious Big And Bone Thugs,
Minor Threat,
Rod Modell,
Boogie Down Productions,
R.M.O.,
a-ha,
the Sonics,
The Leaves,
Quadrant,
Anthony Braxton,
Jerry Gold Smith,
Main Source,
Minny Pops,
David McCallum,
Young Marble Giants,
Sonny Sharrock,
Crime,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
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.