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 Moldova and from Accra.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Mexico City and London.
I'm losing my edge to the art-school Cairo 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 sitar sounds with much patience.
I was there when Tom Verlaine 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 funk 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 The Gories. All the underground hits.
All Radiopuhelimet tracks. I heard you have a vinyl of every Rekid record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba 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 American Breed,
The Fall,
Electric Light Orchestra,
The Move,
Vainqueur,
Hardrive,
Stereo Dub,
F. McDonald,
Don Cherry,
Soul Sonic Force,
Terrestrial Tones,
Stetsasonic,
Ronnie Foster,
Lou Reed,
Funkadelic,
Visage,
Bobby Womack,
H. Thieme,
The Residents,
Gang Green,
Lyres,
Siglo XX,
New Age Steppers,
Negative Approach,
De La Soul & Jungle Brothers,
Schoolly D,
Barry Ungar,
Rosa Yemen,
Public Image Ltd.,
Minor Threat,
Selector Dub Narcotic,
CMW,
Rhythim Is Rhythim,
Organ,
Crime,
DJ Sneak,
Amazonics,
B.T. Express,
Roger Hodgson,
Procol Harum,
Flash Fearless,
Mary Jane Girls,
Tubeway Army,
Lizzy Mercier Descloux,
Buzzcocks,
Sound Behaviour,
Fort Wilson Riot,
Robert Wyatt,
Bluetip,
Steve Hackett,
Suicide,
Gang Starr,
Liliput,
the Normal,
Danielle Patucci,
Warsaw,
Joe Finger,
Khruangbin,
Pete Rock & C.L. Smooth,
Crash Course in Science,
Scratch Acid,
Gary Puckett & The Union Gap, Gary Puckett & The Union Gap, Gary Puckett & The Union Gap, Gary Puckett & The Union Gap.
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.