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 Chad and from Mumbai.
But I was there.
I was there in 1973.
I was there at the first Television 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 1967 to 1975.
I'm losing my edge.
To all the kids in Halifax and Delhi.
I'm losing my edge to the art-school Tokyo 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 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 Mo-Dettes to the punk 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 Yaz. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every Crash Course in Science record on German import.
I heard that you have a white label of every seminal rock 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 snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Jacques Brel,
Ossler,
Connie Case,
Bobby Byrd,
Chris Corsano,
Kerri Chandler,
Slave,
The Detroit Cobras,
Drive Like Jehu,
Mark Hollis,
Bad Manners,
Zero Boys,
Stereo Dub,
Rotary Connection,
Byron Stingily,
In Retrospect,
The Neon Judgement,
Sugar Minott,
the Slits,
Arab on Radar,
H. Thieme,
The Selecter,
Sam Rivers,
Swell Maps,
La Düsseldorf,
Pantaleimon,
Sight & Sound,
Oneida,
Pete Rock & C.L. Smooth,
Stiv Bators,
Amon Düül,
Newcleus,
The Fuzztones,
The Human League,
The Red Krayola,
Sun Ra Arkestra,
Reagan Youth,
Pharoah Sanders,
Nas,
Röyhkä ja Rättö ja Lehtisalo,
Essential Logic,
Tim Buckley,
The United States of America,
The Raincoats,
Das Ding,
DNA,
Little Man,
Bauhaus,
The Leaves,
Monolake,
Soft Machine,
Marshall Jefferson,
Hasil Adkins,
Icehouse,
One Last Wish,
Electric Light Orchestra,
Freddie Wadling,
Captain Beefheart & His Magic Band,
Juan Atkins,
Qualms,
Mission of Burma,
A Flock of Seagulls,
Maurizio, Maurizio, Maurizio, Maurizio.
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.