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 Korea North and from Mexico City.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Columbus and Milan.
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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Radiopuhelimet to the grime 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 James White and The Blacks. All the underground hits.
All Bootsy Collins tracks. I heard you have a vinyl of every Royal Trux record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Hardrive record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shoche,
Black Sheep,
The Music Machine,
The United States of America,
Accadde A,
Sugar Minott,
The Moody Blues,
The Cramps,
Bill Wells,
Stiv Bators,
Scion,
Andrew Ashong & Theo Parrish,
Frankie Knuckles,
The Searchers,
Heaven 17,
Ultramagnetic MC's,
Rhythm & Sound,
The Shadows of Knight,
Marmalade,
Agent Orange,
Scientists,
Toni Rubio,
Marcia Griffiths,
Wally Richardson,
CMW,
A Flock of Seagulls,
Bobby Sherman,
Janne Schatter,
Dr. Dre and Snoop Doggy Dog,
KRS-One,
Unwound,
FM Einheit,
Supertramp,
Ultimate Spinach,
Morten Harket,
Tomorrow,
Lonnie Liston Smith,
Grandmaster Flash and the Furious Five,
The Count Five,
Sad Lovers and Giants,
Althea and Donna,
De La Soul & Jungle Brothers,
Gil Scott-Heron & Brian Jackson,
Kenny Larkin,
Manfred Mann's Earth Band,
Stereo Dub,
Jandek,
Ronan,
Michelle Simonal,
Young Marble Giants,
Visionaries,LMNO, T- Love & Iriscience,
Bush Tetras,
Terrestrial Tones,
Major Organ And The Adding Machine,
Joe Finger,
Unrelated Segments,
Joensuu 1685,
Kayak,
Teenage Jesus and the Jerks,
Darondo,
Hoover,
Soft Cell,
a-ha,
Rod Modell,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.