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 Slovenia and from Lagos.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Portland and London.
I'm losing my edge to the art-school Stockholm 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 Josef K practice in a loft in Edinburgh.
I was working on the sitar sounds with much patience.
I was there when Robert Palmer 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 Gang Green to the techno kids.
I played it at the Troubador.
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 Avey Tare. All the underground hits.
All In Retrospect tracks. I heard you have a vinyl of every OOIOO record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Crash Course in Science record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tears for Fears,
The Men They Couldn't Hang,
Bobby Sherman,
New Order,
Lalo Schifrin,
The Selecter,
48th St. Collective,
Motorama,
Strawberry Alarm Clock,
The Alarm Clocks,
Amazonics,
Roy Ayers Ubiquity,
Sarah Menescal,
The Fall,
Main Source,
Bootsy Collins,
The Mummies,
Cluster,
Art Ensemble Of Chicago,
Moss Icon,
Nils Olav,
Tommy Roe,
Alice Coltrane,
kango's stein massive,
Radiopuhelimet,
John Coltrane,
Chris Corsano,
Gil Scott-Heron & Brian Jackson,
Absolute Body Control,
The Black Dice,
Bill Near,
Sparks,
Marmalade,
Andrew Ashong & Theo Parrish,
8 Eyed Spy,
Moby Grape,
Mad Mike,
Todd Rundgren,
Jacques Brel,
The Jesus and Mary Chain,
The Last Poets,
Banda Bassotti,
Kurtis Blow,
Pierre Henry,
Camberwell Now,
Peter Gordon & Love of Life Orchestra,
The J.B.'s,
Donny Hathaway,
Manfred Mann's Earth Band,
Avey Tare & Kría Brekkan,
The Music Machine,
Franke,
Bronski Beat,
Liaisons Dangereuses,
Parry Music,
Crash Course in Science,
John Holt,
Ultramagnetic MC's,
The Searchers,
Wighnomy Brothers & Robag Wruhme,
The Litter,
Deakin, Deakin, Deakin, Deakin.
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.