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 Bulgaria and from New York.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1971.
I'm losing my edge.
To all the kids in Madrid and Tehran.
I'm losing my edge to the art-school Johannesburg 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 güiro sounds with much patience.
I was there when Lou Reed 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 Symarip to the rap 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 The Alarm Clocks. All the underground hits.
All Tim Buckley tracks. I heard you have a vinyl of every Schoolly D record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Tomorrow record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül,
Depeche Mode,
The Last Poets,
June of 44,
Robert Wyatt,
The Moleskins,
London Community Gospel Choir,
Lalo Schifrin,
Morten Harket,
Jeff Mills,
Minny Pops,
Angry Samoans,
Peter & Gordon,
Boredoms,
ABC,
E-Dancer,
N.O.R.E. Featuring Pharrell,
Dead Boys,
Fluxion,
Lungfish,
The American Breed,
Notorious Big And Bone Thugs,
Flash Fearless,
Infiniti,
China Crisis,
The New Christs,
A Flock of Seagulls,
Henry Cow,
Model 500,
Unwound,
Gabor Szabo,
Ultravox,
Max Romeo,
Robert Görl,
Jandek,
Robert Hood,
Reuben Wilson,
Monolake,
Massinfluence,
AZ,
Bizarre Inc.,
Q65,
Fatback Band,
Amon Düül II,
K-Klass,
Man Eating Sloth,
Soft Machine,
The Gun Club,
Flamin' Groovies,
Sonny Sharrock,
Public Image Ltd.,
the Fania All-Stars,
The Skatalites,
Kurtis Blow,
New York Dolls,
Echospace,
Neil Young,
Fear,
The Slits,
Sexual Harrassment,
Minnie Riperton,
Lalann, Lalann, Lalann, Lalann.
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.