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 Paraguay and from Houston.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Paris.
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 synthesizer 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 Bang On A Can to the dance kids.
I played it at Trash.
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 Offenders. All the underground hits.
All The Fugs tracks. I heard you have a vinyl of every Bill Wells record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Robert Hood record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lightning Bolt,
Jacques Brel,
Leonard Cohen,
Livin' Joy,
Main Source,
Gary Puckett & The Union Gap,
Boredoms,
Fort Wilson Riot,
Man Eating Sloth,
K-Klass,
Jesper Dahlback,
Drive Like Jehu,
Louis and Bebe Barron,
Kayak,
Sexual Harrassment,
Mark Hollis,
Fear,
Alice Coltrane,
The American Breed,
Public Enemy,
Grauzone,
Nik Kershaw,
Whodini,
Bush Tetras,
Surgeon,
Section 25,
Oblivians,
Easy Going,
Country Joe & The Fish,
The United States of America,
Sister Nancy,
Faraquet,
Nation of Ulysses,
Fat Boys,
8 Eyed Spy,
Minny Pops,
Bobbi Humphrey,
Oneida,
Moebius,
X-102,
The Fugs,
The Birthday Party,
The Skatalites,
Bobby Byrd,
DNA,
F. McDonald,
Eric Copeland,
The J.B.'s,
Niagra,
Avey Tare,
Joey Negro,
Pete Rock & C.L. Smooth,
The Victims,
Second Layer,
Ossler,
Angels of Light & Akron/Family,
Aswad,
Scott Walker,
Pylon,
Goldenarms,
Lebanon Hanover,
Public Image Ltd., Public Image Ltd., Public Image Ltd., Public Image Ltd..
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.