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 Israel and from Spokane.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1963 to 1970.
I'm losing my edge.
To all the kids in Bremen and Tokyo.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the mellotron sounds with much patience.
I was there when Nile Rodgers 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 The Moleskins to the grunge 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 Magazine. All the underground hits.
All Barrington Levy tracks. I heard you have a vinyl of every Absolute Body Control 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 '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shuggie Otis,
Charles Mingus,
Mary Jane Girls,
Buzzcocks,
Massinfluence,
Electric Prunes,
Bobby Womack,
The Flesh Eaters,
Freddie Wadling,
In Retrospect,
Frankie Knuckles,
Morten Harket,
Kas Product,
Royal Trux,
T.S.O.L.,
Blossom Toes,
Deakin,
Black Sheep,
Tim Buckley,
Yazoo,
Rhythm & Sound,
Ajijia Myrayebe,
Outsiders,
Sun Ra Arkestra,
Robert Görl,
The West Coast Pop Art Experimental Band,
Dr. Dre and Snoop Doggy Dog,
Zapp,
Faraquet,
Rahsaan Roland Kirk,
James White and The Blacks,
The Zeros,
The Birthday Party,
Bobby Byrd,
This Heat,
E-Dancer,
Marcia Griffiths,
Sam Rivers,
the Association,
Todd Rundgren,
The Royal Family And The Poor,
Kayak,
Altered Images,
Y Pants,
Hashim,
The Sonics,
Albert Ayler,
Marvin Gaye,
Rod Modell,
Yaz,
Sound Behaviour,
Cymande,
Deutsch Amerikanische Freundschaft,
The Velvet Underground,
Nik Kershaw,
The Moody Blues,
Sällskapet,
Ohio Players,
Model 500,
The Angels of Light,
Pylon, Pylon, Pylon, Pylon.
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.