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 Grenada and from Glasgow.
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 1978.
I'm losing my edge.
To all the kids in Jakarta and Taipei.
I'm losing my edge to the art-school Houston 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the snare 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 Neil Young 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 Pierre Henry. All the underground hits.
All Ronnie Foster tracks. I heard you have a vinyl of every Lee Hazlewood record on German import.
I heard that you have a white label of every seminal techno 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 sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Pantaleimon record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric B and Rakim,
Section 25,
Radiopuhelimet,
Sly & The Family Stone,
Cabaret Voltaire,
Sound Behaviour,
Rod Modell,
Jeru the Damaja,
The Jesus and Mary Chain,
The West Coast Pop Art Experimental Band,
Arthur Verocai,
Funkadelic,
DJ Style,
Yellowson,
Derrick Morgan,
Lizzy Mercier Descloux,
Captain Beefheart & His Magic Band,
Harpers Bizarre,
Derrick May,
CMW,
The Misunderstood,
Altered Images,
Connie Case,
Anakelly,
The Zeros,
Tom Boy,
Marshall Jefferson,
Scrapy,
Roger Hodgson,
Art Ensemble Of Chicago,
Kool Moe Dee,
B.T. Express,
L. Decosne,
Eve St. Jones,
Nils Olav,
Inner City,
Lou Reed,
The J.B.'s,
DeepChord presents Echospace,
the Swans,
Stereo Dub,
Soft Cell,
Toni Rubio,
Frankie Knuckles,
the Normal,
Camouflage,
Dawn Penn,
Jacob Miller,
Jeff Lynne,
Make Up,
Monolake,
Eurythmics,
The Remains,
Peter Gordon & Love of Life Orchestra,
Matthew Halsall,
Lucky Dragons,
Angels of Light & Akron/Family,
Black Moon,
Robert Wyatt,
Kerrie Biddell,
Ten City,
Massinfluence, Massinfluence, Massinfluence, Massinfluence.
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.