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 Malaysia and from Bremen.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and Calgary.
I'm losing my edge to the art-school Bremen 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 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 Deepchord to the electroclash 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 In Retrospect. All the underground hits.
All Roy Ayers tracks. I heard you have a vinyl of every Hasil Adkins 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 '70s cut and another box set from the '80s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Severed Heads record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Charles Mingus,
Reuben Wilson,
James White and The Blacks,
Wighnomy Brothers & Robag Wruhme,
The Last Poets,
Don Cherry,
Thinking Fellers Union Local 282,
Johnny Clarke,
Kerrie Biddell,
Sugar Minott,
Gichy Dan,
Drive Like Jehu,
The Remains,
Girls At Our Best!,
Young Marble Giants,
the Soft Cell,
LL Cool J,
Visionaries,LMNO, T- Love & Iriscience,
Gong,
The Electric Prunes,
Danielle Patucci,
Bang on a Can All-Stars,
Depeche Mode,
Tom Boy,
Crispy Ambulance,
The Gap Band,
Strawberry Alarm Clock,
Gil Scott Heron,
PIL,
Bronski Beat,
The Smiths,
The Walker Brothers,
Fifty Foot Hose,
David Axelrod,
Deadbeat,
Andrew Hill,
The Shadows of Knight,
Brick,
The Happenings,
Cal Tjader,
Harpers Bizarre,
Livin' Joy,
Bizarre Inc.,
Deutsch Amerikanische Freundschaft,
Ornette Coleman,
DeepChord presents Echospace,
The Golliwogs,
Boredoms,
Janne Schatter,
Japan,
F. McDonald,
Joensuu 1685,
The Gladiators,
Funky Four + One,
Morten Harket,
Curtis Mayfield,
Desert Stars,
48th St. Collective,
Rosa Yemen,
The Human League,
a-ha,
Mo-Dettes, Mo-Dettes, Mo-Dettes, Mo-Dettes.
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.