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 Uganda and from Stockholm.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1963 to 1973.
I'm losing my edge.
To all the kids in Delhi and Johannesburg.
I'm losing my edge to the art-school Madrid 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Amon Düül to the grime kids.
I played it at the Troubador.
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 Swans. All the underground hits.
All Lebanon Hanover tracks. I heard you have a vinyl of every Drexciya record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Alton Ellis record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Motions,
the Soft Cell,
Harpers Bizarre,
Television Personalities,
The Knickerbockers,
Radiopuhelimet,
L. Decosne,
Motorama,
Ralphi Rosario,
Kool Moe Dee,
Rahsaan Roland Kirk,
Amazonics,
Theoretical Girls,
Basic Channel,
The Pop Group,
Black Bananas,
The Smiths,
Thompson Twins,
Mantronix,
DJ Style,
Arcadia,
Johnny Osbourne,
Lightning Bolt,
Buzzcocks,
MC5,
Public Enemy,
48th St. Collective,
Big Daddy Kane,
The Mojo Men,
Rekid,
Pete Rock & C.L. Smooth,
Roy Ayers,
Mission of Burma,
Kerri Chandler,
The Offenders,
Carl Craig,
Kings Of Tomorrow,
Bang on a Can All-Stars,
Sam Rivers,
Jacob Miller,
Strawberry Alarm Clock,
Brass Construction,
Sällskapet,
Skaos,
The Litter,
Sixth Finger,
Peter and Kerry,
Avey Tare's Slasher Flicks,
The Moleskins,
The Fire Engines,
X-101,
London Community Gospel Choir,
Blancmange,
Patti Smith,
Janne Schatter,
Gary Puckett & The Union Gap,
Crime,
Swell Maps,
The Fall,
Ultra Naté,
D'Angelo,
The Doobie Brothers,
Camouflage, Camouflage, Camouflage, Camouflage.
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.