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 Tunisia and from Bologna.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Winnipeg and Seoul.
I'm losing my edge to the art-school Copenhagen 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 rhodes sounds with much patience.
I was there when Donald Fagen 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 Sarah Menescal to the rock kids.
I played it at the Hacienda.
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 Theoretical Girls. All the underground hits.
All Dawn Penn tracks. I heard you have a vinyl of every Barbara Tucker record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Dual Sessions,
Agent Orange,
Yusef Lateef,
Flamin' Groovies,
Pulsallama,
Marmalade,
The Names,
Symarip,
Stetsasonic,
Tomorrow,
The New Christs,
The Modern Lovers,
Visionaries,LMNO, T- Love & Iriscience,
Essential Logic,
Roy Ayers,
Lafayette Afro Rock Band,
Cecil Taylor,
Main Source,
Sugar Minott,
Unwound,
Circle Jerks,
The Gories,
Gabor Szabo,
Harpers Bizarre,
D'Angelo,
Notorious Big And Bone Thugs,
Rowland S Howard / Lydia Lunch,
Bad Manners,
Spandau Ballet,
Sun Ra Arkestra,
Liliput,
The Seeds,
Marshall Jefferson,
The Dave Clark Five,
Massinfluence,
Basic Channel,
Terrestrial Tones,
Amon Düül II,
The Flesh Eaters,
The J.B.'s,
Juan Atkins,
Wally Richardson,
Rahsaan Roland Kirk,
Marvin Gaye,
James Chance & The Contortions,
Eddi Front,
Minny Pops,
Siouxsie and the Banshees,
Amon Düül,
Mr. Review,
Negative Approach,
Quantec,
The Offenders,
Electric Light Orchestra,
Liaisons Dangereuses,
Model 500,
Crispy Ambulance,
Sun Ra,
Q65,
Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe.
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.