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 United Kingdom and from Lyon.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Manchester.
I'm losing my edge to the art-school Halifax 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the 808 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 David Axelrod to the crunk kids.
I played it at the Crocodile.
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 Arab on Radar. All the underground hits.
All Motorama tracks. I heard you have a vinyl of every Lou Christie 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 '60s cut and another box set from the '80s.
I hear you're buying a rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Gabor Szabo record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Banda Bassotti,
Zero Boys,
Gang Gang Dance,
Wasted Youth,
Von Mondo,
The Chocolate Watch Band,
The Velvet Underground,
Shuggie Otis,
MDC,
Arab on Radar,
The Birthday Party,
The Sound,
Quadrant,
Super Lover Cee & Casanova Rud,
Minutemen,
The Move,
Little Man,
Althea and Donna,
Erykah Badu,
Warsaw,
Whodini,
Electric Light Orchestra,
Nik Kershaw,
Heaven 17,
Leonard Cohen,
Wighnomy Brothers & Robag Wruhme,
Peter & Gordon,
Stetsasonic,
B.T. Express,
Rod Modell,
The Golliwogs,
Ornette Coleman,
Bobby Byrd,
Gil Scott Heron,
London Community Gospel Choir,
In Retrospect,
Nirvana,
Andrew Hill,
Lyres,
Lee Hazlewood,
Rakim,
Stockholm Monsters,
Ossler,
Roger Hodgson,
Bobby Sherman,
Lizzy Mercier Descloux,
Scan 7,
PIL,
Basic Channel,
Crime,
Kayak,
Grandmaster Flash and the Furious Five,
Animal Collective,
L. Decosne,
Babytalk,
The Martian,
Susan Cadogan,
Angels of Light & Akron/Family,
Bobbi Humphrey,
The Sisters of Mercy,
Pylon,
Deutsch Amerikanische Freundschaft,
T. Rex,
Marc Romboy vs. Booka Shade,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.