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 Monaco and from Paris.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Copenhagen and Spokane.
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 clarinet 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 Ronan to the jazz 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 Rites of Spring. All the underground hits.
All Röyhkä ja Rättö ja Lehtisalo tracks. I heard you have a vinyl of every UT record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris & Cosey,
The Motions,
Mr. Review,
Q65,
Unwound,
Ludus,
The Fugs,
Notorious BIG live in Amsterdam,
Ornette Coleman,
Piero Umiliani,
The Real Kids,
Girls At Our Best!,
U.S. Maple,
Yaz,
MDC,
Public Enemy,
Thinking Fellers Union Local 282,
Neil Young,
Man Eating Sloth,
Ice-T,
Alison Limerick,
Vladislav Delay,
Jacob Miller,
Radiohead,
Peter Gordon & Love of Life Orchestra,
Marcia Griffiths,
Janne Schatter,
Junior Murvin,
Notorious Big And Bone Thugs,
Jawbox,
The Gun Club,
Sex Pistols,
Charles Mingus,
Drexciya,
Bill Near,
Tubeway Army,
Scott Walker + Sunn O))),
Idris Muhammad,
Iggy Pop,
Buzzcocks,
Jesper Dahlbäck,
Brand Nubian,
Gil Scott-Heron & Brian Jackson,
Byron Stingily,
Spandau Ballet,
Visage,
Desert Stars,
Sixth Finger,
Kerri Chandler,
June Days,
David Axelrod,
The Fortunes,
Fear,
EPMD,
Louis and Bebe Barron,
The Doobie Brothers,
Scott Walker,
The Alarm Clocks,
Monolake,
A Flock of Seagulls,
Siglo XX,
Warren Ellis,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.