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 East Timor and from Glasgow.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Bologna and Bologna.
I'm losing my edge to the art-school Madrid 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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 Stetsasonic to the jazz kids.
I played it at Trash.
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 Cabaret Voltaire. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every Rotary Connection record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Electric Prunes record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Electric Prunes,
Avey Tare,
Japan,
Sparks,
Colin Newman,
Strawberry Alarm Clock,
Louis and Bebe Barron,
Gerry Rafferty,
The Seeds,
Boz Scaggs,
Model 500,
Bang on a Can All-Stars,
Visage,
Altered Images,
Fort Wilson Riot,
ABC,
the Swans,
Hashim,
Lee Hazlewood,
Notorious Big And Bone Thugs,
Juan Atkins,
Public Enemy,
Trumans Water,
The Gap Band,
Liliput,
Blancmange,
Circle Jerks,
Harry Pussy,
The Raincoats,
Gang Green,
David Bowie,
Gil Scott-Heron and Jamie xx,
John Holt,
Absolute Body Control,
In Retrospect,
Lebanon Hanover,
Gil Scott Heron,
Kauko Röyhkä ja Narttu,
Rod Modell,
Jacques Brel,
The Wake,
T. Rex,
Metal Thangz,
Ash Ra Tempel,
The J.B.'s,
The Dead C,
Orchestral Manoeuvres in the Dark,
Max Romeo,
Q and Not U,
Gichy Dan,
The Birthday Party,
Scrapy,
Erasure,
La Düsseldorf,
Yusef Lateef,
The Mighty Diamonds,
Flipper,
The Misunderstood,
Sly & The Family Stone,
Rhythim Is Rhythim,
Ten City,
Byron Stingily,
Nick Fraelich,
Rowland S Howard / Lydia Lunch,
Angry Samoans, Angry Samoans, Angry Samoans, Angry Samoans.
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.