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 Trinidad & Tobago and from Sao Paulo.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Winnipeg.
I'm losing my edge to the art-school Spokane 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the theremin sounds with much patience.
I was there when Donald Fagen 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 kango's stein massive to the rock kids.
I played it at the Hacienda.
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 The Gladiators. All the underground hits.
All Fluxion tracks. I heard you have a vinyl of every Adolescents record on German import.
I heard that you have a white label of every seminal jazz 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 synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Sonny Sharrock record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Remains,
The Cramps,
T. Rex,
Brick,
Steve Hackett,
The Black Dice,
Jandek,
Minnie Riperton,
K-Klass,
John Holt,
Curtis Mayfield,
The Martian,
Loose Ends,
KRS-One,
The Shadows of Knight,
The Misunderstood,
Jeff Mills,
Lalann,
Tears for Fears,
The Real Kids,
London Community Gospel Choir,
Robert Görl,
Derrick May,
John Coltrane,
Rosa Yemen,
Lizzy Mercier Descloux,
Dennis Brown,
Wighnomy Brothers & Robag Wruhme,
Bizarre Inc.,
Massinfluence,
Delon & Dalcan,
Kayak,
Negative Approach,
Barbara Tucker,
The Doors,
Liliput,
Rhythm & Sound,
Siglo XX,
Aswad,
Main Source,
The Smiths,
Mo-Dettes,
Piero Umiliani,
Reuben Wilson,
Cabaret Voltaire,
Selector Dub Narcotic,
Angels of Light & Akron/Family,
Procol Harum,
Peter and Kerry,
Erasure,
The Men They Couldn't Hang,
Fad Gadget,
The Doobie Brothers,
Matthew Halsall,
DNA,
Jesper Dahlback,
Popol Vuh,
Skaos,
Suburban Knight,
The Tremeloes,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.