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 Panama and from Houston.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Shanghai and Seoul.
I'm losing my edge to the art-school Toronto 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 organ 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 F. McDonald to the jazz kids.
I played it at the Astoria.
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 Underground Resistance. All the underground hits.
All Iggy Pop tracks. I heard you have a vinyl of every Marshall Jefferson 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 '80s cut and another box set from the '90s.
I hear you're buying a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Moody Blues record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fortunes,
Drive Like Jehu,
Röyhkä ja Rättö ja Lehtisalo,
Eric Dolphy,
Stereo Dub,
Sparks,
The Seeds,
Henry Cow,
Aswad,
CMW,
Rahsaan Roland Kirk,
Qualms,
The Red Krayola,
Howard Jones,
Marcia Griffiths,
Motorama,
Mission of Burma,
Ohio Players,
Swell Maps,
Dead Boys,
Gang of Four,
Avey Tare's Slasher Flicks,
Minutemen,
This Heat,
The Electric Prunes,
Deadbeat,
Teenage Jesus and the Jerks,
Soft Cell,
Slave,
Lizzy Mercier Descloux,
Lou Christie,
Sad Lovers and Giants,
Sonny Sharrock,
Man Parrish,
Rhythim Is Rhythim,
Jandek,
Roxette,
Monks,
Ralphi Rosario,
Notorious Big And Bone Thugs,
Intrusion,
The Offenders,
LL Cool J,
The Tremeloes,
Rotary Connection,
Arthur Verocai,
Young Marble Giants,
Bluetip,
Crash Course in Science,
Stockholm Monsters,
Scrapy,
Jesper Dahlbäck,
Tears for Fears,
Sixth Finger,
Peter & Gordon,
Jacob Miller,
John Foxx,
Zero Boys,
Lou Reed & Metallica,
Roger Hodgson,
Reuben Wilson,
Echospace,
Glambeats Corp.,
Niagra, Niagra, Niagra, Niagra.
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.