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 Laos and from Woodstock.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Seoul and Madrid.
I'm losing my edge to the art-school Seoul 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 1976 at the first Chic practice in a loft in New York.
I was working on the mellotron sounds with much patience.
I was there when Captain Beefheart 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 Tommy Roe 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 The Alarm Clocks. All the underground hits.
All Camberwell Now tracks. I heard you have a vinyl of every Super Lover Cee & Casanova Rud record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel record.
I hear that you and your band have sold your linndrum and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thompson Twins,
Neil Young & Crazy Horse,
Connie Case,
T. Rex,
Ossler,
The Mojo Men,
Rod Modell,
James White and The Blacks,
E-Dancer,
The Techniques,
10cc,
Sällskapet,
The Move,
Deakin,
The Trojans,
Morten Harket,
Arcadia,
Rosa Yemen,
Dawn Penn,
Pete Rock & C.L. Smooth,
Kauko Röyhkä ja Narttu,
Mars,
Vladislav Delay,
Lightning Bolt,
Bang On A Can,
Skaos,
Rites of Spring,
The Fortunes,
Derrick Morgan,
Television Personalities,
The Star Department,
Pet Shop Boys,
Sly & The Family Stone,
Isaac Hayes,
Gary Puckett & The Union Gap,
Sound Behaviour,
The West Coast Pop Art Experimental Band,
June Days,
Matthew Halsall,
Peter and Kerry,
The Martian,
A Flock of Seagulls,
Japan,
Unrelated Segments,
R.M.O.,
The Mummies,
Ice-T,
Chrome,
New Age Steppers,
Liaisons Dangereuses,
Masters at Work,
Harpers Bizarre,
Slick Rick,
Mr. Review,
Yusef Lateef,
Darondo,
Ohio Players,
Archie Shepp,
Lou Reed & Metallica,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.