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 Togo and from Manila.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Hong Kong and Houston.
I'm losing my edge to the art-school Sao Paulo 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 güiro 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 This Heat to the techno kids.
I played it at the Spitz.
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 Marvin Gaye. All the underground hits.
All Angry Samoans tracks. I heard you have a vinyl of every Gerry Rafferty record on German import.
I heard that you have a white label of every seminal techno 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 synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a These Immortal Souls record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cecil Taylor,
Gang Green,
Q and Not U,
Excepter,
The Toasters,
Donald Byrd,
Bang On A Can,
The Mummies,
Wighnomy Brothers & Robag Wruhme,
Rhythim Is Rhythim,
Oppenheimer Analysis,
Theoretical Girls,
Kas Product,
Monks,
the Swans,
The Raincoats,
Blancmange,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Art Ensemble Of Chicago,
Drive Like Jehu,
Harpers Bizarre,
Unwound,
Max Romeo,
Joey Negro,
The Pop Group,
Eric B and Rakim,
Roy Ayers,
Isaac Hayes,
Henry Cow,
Michelle Simonal,
Juan Atkins,
Ituana,
The Tremeloes,
Livin' Joy,
Quadrant,
Jeff Lynne,
Colin Newman,
Dennis Brown,
Tommy Roe,
The Fuzztones,
Moby Grape,
Angels of Light & Akron/Family,
Amon Düül,
Heaven 17,
Dawn Penn,
The Index,
Fear,
Patti Smith,
Eurythmics,
Main Source,
The Chocolate Watch Band,
David Bowie,
Jawbox,
Qualms,
Danielle Patucci,
Pussy Galore,
John Lydon,
The Music Machine,
Public Image Ltd.,
DeepChord presents Echospace,
Deutsch Amerikanische Freundschaft,
Robert Hood, Robert Hood, Robert Hood, Robert Hood.
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.