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 Benin and from Delhi.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Salvador and Sao Paulo.
I'm losing my edge to the art-school Portland 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 mellotron sounds with much patience.
I was there when Michael McDonald 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 Peter and Kerry to the techno 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 Q and Not U. All the underground hits.
All The Cure tracks. I heard you have a vinyl of every Scott Walker record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Hill record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Germs,
Black Moon,
Intrusion,
E-Dancer,
John Cale,
Erykah Badu,
Grauzone,
Moebius,
Tommy Roe,
Boz Scaggs,
Avey Tare's Slasher Flicks,
Soft Machine,
The Smiths,
Tom Boy,
Bootsy Collins,
Howard Jones,
Severed Heads,
Red Lorry Yellow Lorry,
Newcleus,
Glenn Branca,
Sugar Minott,
Laurel Aitken,
Wings,
Darondo,
Zapp,
Accadde A,
R.M.O.,
The Index,
Masters at Work,
Franke,
Blake Baxter,
Kayak,
Leonard Cohen,
Ten City,
Crispy Ambulance,
Mandrill,
Terror Squad Feat. Camron,
Moby Grape,
DJ Sneak,
Gong,
Kaleidoscope,
Todd Terry,
The Sound,
Big Daddy Kane,
Terrestrial Tones,
The Music Machine,
James Chance & The Contortions,
Yusef Lateef,
Bobby Sherman,
Absolute Body Control,
AZ,
Camberwell Now,
The Residents,
Suburban Knight,
Graham Central Station,
Delon & Dalcan,
Royal Trux,
Radiohead,
Ronan,
Silicon Teens,
Tubeway Army,
Lou Christie, Lou Christie, Lou Christie, Lou Christie.
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.