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 Nicaragua and from Seoul.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Salvador and Mumbai.
I'm losing my edge to the art-school Hong Kong 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 linndrum sounds with much patience.
I was there when Lou Reed 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 Toni Rubio to the rap 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 Ice-T. All the underground hits.
All Sam Rivers tracks. I heard you have a vinyl of every The Beau Brummels 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 '70s cut and another box set from the '70s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Saccharine Trust record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tim Buckley,
Grandmaster Flash and the Furious Five,
Avey Tare's Slasher Flicks,
Cameo,
The Kinks,
Jeff Lynne,
Ohio Players,
Selector Dub Narcotic,
Lee Hazlewood,
The Chocolate Watch Band,
Joe Smooth,
The Names,
Audionom,
Minny Pops,
Soulsonic Force,
The Tremeloes,
Delta 5,
the Sonics,
Country Teasers,
Organ,
Reagan Youth,
Jesper Dahlback,
Dawn Penn,
Harmonia,
Big Daddy Kane,
Man Parrish,
Colin Newman,
Orchestral Manoeuvres in the Dark,
UT,
Swans,
The Dirtbombs,
Terrestrial Tones,
Röyhkä ja Rättö ja Lehtisalo,
Robert Görl,
Toni Rubio,
Gong,
Flamin' Groovies,
Nas,
Todd Terry,
Kango’s Stein Massive,
Marine Girls,
Soul Sonic Force,
Lonnie Liston Smith,
Minnie Riperton,
Sex Pistols,
Tom Boy,
Kaleidoscope,
Rufus Thomas,
Little Man,
Parry Music,
Eden Ahbez,
Stockholm Monsters,
the Germs,
Liaisons Dangereuses,
Radiopuhelimet,
Con Funk Shun,
The Fuzztones,
Lalo Schifrin,
David McCallum,
The Toasters,
Radio Birdman,
Wighnomy Brothers & Robag Wruhme,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.