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 Estonia and from Sao Paulo.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Manila and Beijing.
I'm losing my edge to the art-school Philadelphia 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 clarinet 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 Alton Ellis to the jazz 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 DJ Style. All the underground hits.
All Throbbing Gristle tracks. I heard you have a vinyl of every Skriet record on German import.
I heard that you have a white label of every seminal disco 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 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kenny Larkin,
Nation of Ulysses,
Ice-T,
Kings Of Tomorrow,
Erasure,
PIL,
Ituana,
Surgeon,
The Buckinghams,
Second Layer,
the Soft Cell,
Porter Ricks,
Moebius,
Stereo Dub,
R.M.O.,
Ken Boothe,
Jeru the Damaja,
Von Mondo,
the Germs,
The Music Machine,
Mark Hollis,
MDC,
Kool Moe Dee,
the Bar-Kays,
Desert Stars,
Fear,
Joyce Sims,
Al Stewart,
The Techniques,
Essential Logic,
Skaos,
Oneida,
D'Angelo,
Loose Ends,
Mandrill,
Swell Maps,
Sarah Menescal,
Trumans Water,
K-Klass,
Groovy Waters,
Robert Görl,
Zero Boys,
John Cale,
Joe Smooth,
Bill Wells,
Japan,
Rod Modell,
Gang Gang Dance,
The Smoke,
Spoonie Gee,
Babytalk,
Peter & Gordon,
Popol Vuh,
Grauzone,
Dorothy Ashby,
The Blackbyrds,
Man Eating Sloth,
Negative Approach,
Amon Düül II,
Slick Rick,
Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band.
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.