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 Slovakia and from Shanghai.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Halifax and Salvador.
I'm losing my edge to the art-school Salvador 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the linndrum 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 Spoonie Gee to the techno kids.
I played it at Cafe Wha.
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 Niagra. All the underground hits.
All Röyhkä ja Rättö ja Lehtisalo tracks. I heard you have a vinyl of every David Axelrod record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
This Heat,
Alphaville,
Theoretical Girls,
Gregory Isaacs,
The Men They Couldn't Hang,
The Doobie Brothers,
Loose Ends,
Crash Course in Science,
Masters at Work,
Wings,
The Seeds,
Soul Sonic Force,
Main Source,
The Walker Brothers,
Pete Rock & C.L. Smooth,
Mars,
Eli Mardock,
Judy Mowatt,
John Lydon,
Camberwell Now,
Bill Wells,
In Retrospect,
Lalo Schifrin,
Ludus,
Ronnie Foster,
Lucky Dragons,
The Trojans,
The Skatalites,
The Chocolate Watch Band,
Technova,
Gang Green,
The Gap Band,
David McCallum,
Lower 48,
Henry Cow,
Roy Ayers Ubiquity,
Flash Fearless,
Yusef Lateef,
Panda Bear,
Electric Prunes,
Manfred Mann's Earth Band,
Boz Scaggs,
Sugar Minott,
Model 500,
The West Coast Pop Art Experimental Band,
De La Soul & Jungle Brothers,
KRS-One,
The Searchers,
Amon Düül,
Throbbing Gristle,
Boogie Down Productions,
Guru Guru,
Delon & Dalcan,
The Human League,
These Immortal Souls,
Kaleidoscope,
Harry Pussy,
Howard Jones,
The Martian,
Sound Behaviour,
Eric Copeland,
Danielle Patucci, Danielle Patucci, Danielle Patucci, Danielle Patucci.
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.