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 South Africa and from Bologna.
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 1974.
I'm losing my edge.
To all the kids in Delhi and Madrid.
I'm losing my edge to the art-school Copenhagen 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 Susan Cadogan to the funk kids.
I played it at the 40 Watt.
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 Intrusion. All the underground hits.
All Adolescents tracks. I heard you have a vinyl of every Lou Reed & John Cale 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 marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Thee Headcoats record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barbara Tucker,
the Bar-Kays,
Radiohead,
Minor Threat,
Sonny Sharrock,
Black Pus,
Neu!,
Kenny Larkin,
Amon Düül II,
Orchestral Manoeuvres in the Dark,
Monolake,
Trumans Water,
Bob Dylan,
Audionom,
Crash Course in Science,
X-101,
Judy Mowatt,
U.S. Maple,
Fear,
The Martian,
Ronnie Foster,
Funky Four + One,
R.M.O.,
Kevin Saunderson,
Alton Ellis,
Deepchord,
Joey Negro,
Wire,
Pierre Henry,
Darondo,
Crooked Eye,
Bill Wells,
Lightning Bolt,
Parry Music,
Jacques Brel,
Von Mondo,
Mark Hollis,
Basic Channel,
KRS-One,
The Slackers,
Kas Product,
Grauzone,
Technova,
Eli Mardock,
Warren Ellis,
CMW,
Jeff Mills,
Organ,
Matthew Halsall,
Electric Light Orchestra,
The Real Kids,
Vaughan Mason & Crew,
Model 500,
Supertramp,
Ohio Players,
The Shadows of Knight,
Inner City,
The Buckinghams,
Beasts of Bourbon,
Peter Gordon & Love of Life Orchestra,
Faust,
Gil Scott-Heron & Brian Jackson,
Drive Like Jehu,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.