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 Panama and from Tehran.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 New York and Woodstock.
I'm losing my edge to the art-school Columbus 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 arpeggiator sounds with much patience.
I was there when David Bowie 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 Max Romeo to the jazz kids.
I played it at CBGB's.
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 Tim Buckley. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every Pharoah Sanders 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 '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Model 500 record.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter & Gordon,
Matthew Halsall,
Icehouse,
Spandau Ballet,
Accadde A,
Cameo,
KRS-One,
Crispian St. Peters,
Scrapy,
Crash Course in Science,
Scott Walker + Sunn O))),
The Men They Couldn't Hang,
Minor Threat,
FM Einheit,
Country Teasers,
Barclay James Harvest,
Electric Prunes,
Pharaoh Sanders and the Fire Engines,
Harmonia,
Lalo Schifrin,
The Human League,
Sparks,
Peter and Kerry,
The West Coast Pop Art Experimental Band,
Carl Craig,
Gian Franco Pienzio,
Bauhaus,
Sad Lovers and Giants,
Eurythmics,
Black Sheep,
Sonic Youth,
Eric Dolphy,
Aaron Thompson,
Rhythm & Sound,
Kerri Chandler,
Bush Tetras,
Rosa Yemen,
Stiv Bators,
The Knickerbockers,
Barry Ungar,
The Moleskins,
Wasted Youth,
Tears for Fears,
Zapp,
Ludus,
Roxy Music,
Sandy B,
Rites of Spring,
Khruangbin,
Art Ensemble Of Chicago,
Kas Product,
Kaleidoscope,
Bill Wells,
Traffic Nightmare,
Heavy D & The Boyz,
Lightning Bolt,
Pantytec,
Magma, Magma, Magma, Magma.
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.