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 Hungary and from Portland.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Cairo and London.
I'm losing my edge to the art-school Tehran 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the mellotron 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 Agitation Free to the rap kids.
I played it at the Crocodile.
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 Yusef Lateef. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every The Beau Brummels record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
It's A Beautiful Day,
Q65,
John Holt,
Ultravox,
Avey Tare & Kría Brekkan,
The Associates,
James Chance & The Contortions,
Terror Squad Feat. Camron,
Pete Rock & C.L. Smooth,
Tears for Fears,
Matthew Bourne,
Con Funk Shun,
Das Ding,
Loose Ends,
The Barracudas,
Brick,
Wings,
T. Rex,
Junior Murvin,
Boredoms,
Funkadelic,
FM Einheit,
The Knickerbockers,
Stiv Bators,
The Seeds,
Sound Behaviour,
The Fugs,
The Moleskins,
Duran Duran,
The Count Five,
Wally Richardson,
Fear,
The Mojo Men,
The Shadows of Knight,
Terry Callier,
Letta Mbulu,
UT,
Rowland S Howard / Lydia Lunch,
OOIOO,
Sonny Sharrock,
Whodini,
Interpol,
Mantronix,
Gerry Rafferty,
Monolake,
The Fall,
Gary Puckett & The Union Gap,
Eden Ahbez,
The Gories,
Kayak,
Pole,
Roy Ayers Ubiquity,
Joey Negro,
Porter Ricks,
Gichy Dan,
Simply Red,
World's Most,
Yaz,
Dennis Brown,
The Gun Club,
Ajijia Myrayebe,
Larry & the Blue Notes,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.