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 Maldives and from Jakarta.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Houston and Lyon.
I'm losing my edge to the art-school Taipei 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 harpsichord 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 Schoolly D to the techno 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 Bad Manners. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every Funky Four + One record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Monochrome Set record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thee Headcoats,
Erykah Badu,
Harmonia,
The Leaves,
Metal Thangz,
Blake Baxter,
The Busters,
The Dirtbombs,
Deakin,
ABC,
Scott Walker,
Alphaville,
Todd Terry,
The Standells,
Masters at Work,
Neil Young,
David Axelrod,
Andrew Hill,
Kerrie Biddell,
Camouflage,
Lindisfarne,
Leonard Cohen,
Crooked Eye,
Trumans Water,
Blossom Toes,
Dual Sessions,
Fugazi,
The Electric Prunes,
Rowland S Howard / Lydia Lunch,
Art Ensemble Of Chicago,
Arcadia,
The Litter,
Television Personalities,
Talk Talk,
Nation of Ulysses,
Fatback Band,
Mo-Dettes,
Con Funk Shun,
Alison Limerick,
Deepchord,
Essential Logic,
Nas,
Aswad,
Don Cherry,
Crispy Ambulance,
Man Eating Sloth,
The Moleskins,
Yazoo,
The J.B.'s,
Be Bop Deluxe,
Stockholm Monsters,
Q65,
Rhythim Is Rhythim,
Jandek,
Peter & Gordon,
the Slits,
The Offenders,
Tomorrow,
T. Rex,
Interpol,
Byron Stingily,
Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio.
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.