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 Iraq and from Houston.
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 1971.
I'm losing my edge.
To all the kids in Portland and Shanghai.
I'm losing my edge to the art-school Milan 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 linndrum sounds with much patience.
I was there when Michael McDonald 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 Suicide to the disco kids.
I played it at the Astoria.
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 Girls At Our Best!. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every Urselle record on German import.
I heard that you have a white label of every seminal dance 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 a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy's Rubber Band record.
I hear that you and your band have sold your marimba and bought a theremin.
I hear that you and your band have sold your theremin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Real Kids,
Notorious BIG live in Amsterdam,
The Remains,
Blake Baxter,
Althea and Donna,
Organ,
Radio Birdman,
The Doobie Brothers,
Absolute Body Control,
the Swans,
Nas,
Deepchord,
Ken Boothe,
Black Pus,
Symarip,
B.T. Express,
Pantytec,
The Toasters,
Jacques Brel,
Donny Hathaway,
Aswad,
Clear Light,
John Coltrane,
Dave Gahan,
Lower 48,
Röyhkä ja Rättö ja Lehtisalo,
Sam Rivers,
Heaven 17,
Soft Machine,
Lalo Schifrin,
Amon Düül II,
The Men They Couldn't Hang,
The Residents,
Strawberry Alarm Clock,
Lyres,
Angry Samoans,
Marine Girls,
Kaleidoscope,
Delon & Dalcan,
The Cramps,
Fifty Foot Hose,
Anthony Braxton,
Supertramp,
Bobby Byrd,
Black Sheep,
Sarah Menescal,
The Happenings,
Gil Scott-Heron & Brian Jackson,
The Selecter,
Bill Wells,
Isaac Hayes,
The Divine Comedy,
Tubeway Army,
The Zeros,
The Velvet Underground,
Peter Gordon & Love of Life Orchestra,
Quantec,
Cabaret Voltaire,
Toni Rubio, Toni Rubio, Toni Rubio, Toni Rubio.
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.