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 Houston.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Winnipeg and Bologna.
I'm losing my edge to the art-school Delhi 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 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 Kurtis Blow to the techno 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 Negative Approach. All the underground hits.
All Lonnie Liston Smith tracks. I heard you have a vinyl of every Roxy Music 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 '60s cut and another box set from the '80s.
I hear you're buying an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Gastr Del Sol record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
CMW,
Excepter,
Lalo Schifrin,
The Birthday Party,
Eli Mardock,
New Age Steppers,
Supertramp,
Tears for Fears,
Ultramagnetic MC's,
Ultravox,
Terrestrial Tones,
Althea and Donna,
Gerry Rafferty,
The Slits,
Tubeway Army,
Silicon Teens,
Howard Jones,
Gong,
Scott Walker + Sunn O))),
Mr. Review,
The Moleskins,
Skarface,
Don Cherry,
John Foxx,
Model 500,
Section 25,
Parry Music,
Soul Sonic Force,
Lizzy Mercier Descloux,
Jesper Dahlback,
Electric Light Orchestra,
Shoche,
Albert Ayler,
T. Rex,
Piero Umiliani,
the Human League,
Tom Boy,
The Busters,
Larry & the Blue Notes,
Jeff Lynne,
Television Personalities,
Quando Quango,
Gastr Del Sol,
London Community Gospel Choir,
Jeff Mills,
Arab on Radar,
Blancmange,
The Peanut Butter Conspiracy,
The Angels of Light,
Man Parrish,
Joe Finger,
Deadbeat,
Can,
Make Up,
The Fortunes,
Brass Construction,
Kenny Larkin,
The Durutti Column,
Lightning Bolt,
Charles Mingus,
Arthur Verocai,
Lee Hazlewood,
Sarah Menescal, Sarah Menescal, Sarah Menescal, Sarah Menescal.
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.