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 Brazil and from Milan.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in 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 1965 to 1976.
I'm losing my edge.
To all the kids in Woodstock and Woodstock.
I'm losing my edge to the art-school Lyon 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 harpsichord 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 Blossom Toes to the rock kids.
I played it at the Roxy.
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 Art Ensemble Of Chicago. All the underground hits.
All The Move tracks. I heard you have a vinyl of every Oblivians 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 '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Skaos record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Motorama,
JFA,
Matthew Bourne,
Eric B and Rakim,
Magazine,
The American Breed,
Junior Murvin,
The Dirtbombs,
A Certain Ratio,
Nik Kershaw,
Aural Exciters,
Ornette Coleman,
Moss Icon,
Niagra,
LL Cool J,
Barbara Tucker,
The Skatalites,
Ralphi Rosario,
MDC,
The Chocolate Watch Band,
Symarip,
Eric Dolphy,
Terrestrial Tones,
Tim Buckley,
Susan Cadogan,
Loose Ends,
Dead Boys,
Eurythmics,
The Vogues,
Lightning Bolt,
Bobby Byrd,
The Mummies,
Tomorrow,
H. Thieme,
Eden Ahbez,
Hasil Adkins,
James Chance & The Contortions,
a-ha,
Interpol,
the Bar-Kays,
Leonard Cohen,
Sarah Menescal,
Aswad,
Angels of Light & Akron/Family,
The Misunderstood,
The Move,
Grey Daturas,
Metal Thangz,
Organ,
The Remains,
Sunsets and Hearts,
Echo & the Bunnymen,
Fugazi,
Harpers Bizarre,
Monolake,
London Community Gospel Choir,
the Normal,
Althea and Donna,
Moby Grape, Moby Grape, Moby Grape, Moby Grape.
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.