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 Pakistan and from Mumbai.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1967 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Copenhagen.
I'm losing my edge to the art-school Accra 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 Michael McDonald 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 Charles Mingus to the electroclash 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 Scientists. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every Inner City 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 '70s cut and another box set from the '70s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Sonic Youth record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MDC,
Nirvana,
Bang on a Can All-Stars,
Teenage Jesus and the Jerks,
Fugazi,
Ultra Naté,
ABBA,
Electric Light Orchestra,
Skaos,
Steve Hackett,
Theoretical Girls,
Gary Puckett & The Union Gap,
Au Pairs,
Yazoo,
Skriet,
Deepchord,
Gil Scott-Heron & Brian Jackson,
Gregory Isaacs,
Chris & Cosey,
The Gap Band,
Sound Behaviour,
The Flesh Eaters,
Kevin Saunderson,
Freddie Wadling,
Crooked Eye,
June Days,
Sex Pistols,
Aswad,
OOIOO,
The Jesus and Mary Chain,
Make Up,
Radiopuhelimet,
Rhythm & Sound,
Nas,
Jesper Dahlbäck,
the Germs,
Urselle,
Radiohead,
Morten Harket,
Tropical Tobacco,
Sonny Sharrock,
The Knickerbockers,
Jandek,
Faust,
The Buckinghams,
Howard Jones,
Jesper Dahlback,
Kerri Chandler,
Cal Tjader,
Black Flag,
Goldenarms,
Barrington Levy,
Susan Cadogan,
The Shadows of Knight,
The Detroit Cobras,
PIL,
Wally Richardson,
CMW,
The Mighty Diamonds,
Danielle Patucci,
The Skatalites,
Robert Wyatt, Robert Wyatt, Robert Wyatt, Robert Wyatt.
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.