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 Indonesia and from Tokyo.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Beijing.
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 oboe 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 Wings to the crunk kids.
I played it at Trash.
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 Buzzcocks. All the underground hits.
All The Misunderstood tracks. I heard you have a vinyl of every Roxette record on German import.
I heard that you have a white label of every seminal punk 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 clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Masta Ace, Craig G, Kool G Rap, Big Daddy Kane record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Flipper,
Zero Boys,
The Monks,
Stockholm Monsters,
Ultra Naté,
Stiv Bators,
Porter Ricks,
Faraquet,
The Leaves,
Sixth Finger,
Jeff Mills,
Barry Ungar,
Grey Daturas,
Trumans Water,
The Tremeloes,
Avey Tare,
Pulsallama,
the Normal,
Piero Umiliani,
John Lydon,
The J.B.'s,
Marshall Jefferson,
Aaron Thompson,
Jesper Dahlbäck,
Echo & the Bunnymen,
Rahsaan Roland Kirk,
Black Bananas,
Shoche,
Barbara Tucker,
Aural Exciters,
Procol Harum,
Todd Rundgren,
Fatback Band,
The Litter,
The Slackers,
Dennis Brown,
Lalo Schifrin,
Chrome,
Nas,
The Fire Engines,
Eric Dolphy,
The Gun Club,
Nick Cave & The Bad Seeds,
Kevin Saunderson,
the Association,
The Count Five,
Faust,
The Vogues,
It's A Beautiful Day,
Röyhkä ja Rättö ja Lehtisalo,
The Divine Comedy,
Sonny Sharrock,
Art Ensemble Of Chicago,
Niagra,
Neu!,
Basic Channel,
The Move,
Little Man,
Rowland S Howard / Lydia Lunch,
Matthew Halsall,
The West Coast Pop Art Experimental Band,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.