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 Monaco and from Mexico City.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Seoul.
I'm losing my edge to the art-school Columbus 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 sitar 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 The Vogues to the jazz 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 Cabaret Voltaire. All the underground hits.
All Tears for Fears tracks. I heard you have a vinyl of every Vladislav Delay record on German import.
I heard that you have a white label of every seminal grunge 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 linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Tubeway Army record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Charles Mingus,
Lower 48,
Camron Feat. Memphis Bleek And Beenie Seigel,
Technova,
New Order,
Metal Thangz,
Matthew Halsall,
Monolake,
The Modern Lovers,
Skarface,
Darondo,
Bronski Beat,
Drexciya,
La Düsseldorf,
Spandau Ballet,
Dr. Dre and Snoop Doggy Dog,
Grey Daturas,
Eurythmics,
Panda Bear,
The Doors,
Lindisfarne,
The Monks,
Dawn Penn,
The Trojans,
Lightning Bolt,
Juan Atkins,
Minutemen,
Scott Walker,
MDC,
D'Angelo,
Marc Romboy vs. Booka Shade,
The Kinks,
Bauhaus,
Zero Boys,
John Cale,
Severed Heads,
Livin' Joy,
Minor Threat,
Dorothy Ashby,
Neu!,
Electric Prunes,
Sex Pistols,
Lyres,
Notorious Big And Bone Thugs,
Blake Baxter,
Ten City,
Steve Hackett,
Röyhkä ja Rättö ja Lehtisalo,
Groovy Waters,
Schoolly D,
the Normal,
Deepchord,
Bad Manners,
Erykah Badu,
The Misunderstood,
Sister Nancy,
Ohio Players,
Roxette,
Art Ensemble Of Chicago,
AZ,
The Birthday Party,
Echospace,
Talk Talk, Talk Talk, Talk Talk, Talk Talk.
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.