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 Austria 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 1964 to 1973.
I'm losing my edge.
To all the kids in Portland and Toronto.
I'm losing my edge to the art-school Glasgow 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the harpsichord sounds with much patience.
I was there when Holger Czukay 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 E-Dancer to the jazz 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 Soft Cell. All the underground hits.
All Neil Young tracks. I heard you have a vinyl of every The Misunderstood 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 '80s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Funky Four + One record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kayak,
Art Ensemble Of Chicago,
The Move,
Average White Band,
Avey Tare & Kría Brekkan,
E-Dancer,
Model 500,
Loose Ends,
Todd Terry,
The Moody Blues,
EPMD,
Charles Mingus,
The J.B.'s,
Captain Beefheart & His Magic Band,
Make Up,
Kerrie Biddell,
Brick,
F. McDonald,
Cecil Taylor,
Susan Cadogan,
Piero Umiliani,
Quadrant,
Darondo,
Cybotron,
B.T. Express,
Jandek,
Intrusion,
David Bowie,
JFA,
Drive Like Jehu,
Sällskapet,
DJ Sneak,
The Slits,
The Blackbyrds,
Mandrill,
Marmalade,
Fifty Foot Hose,
Oppenheimer Analysis,
London Community Gospel Choir,
Barclay James Harvest,
The Searchers,
The Mighty Diamonds,
Iggy Pop,
Brass Construction,
Delon & Dalcan,
Skarface,
The Fortunes,
Althea and Donna,
Rapeman,
Urselle,
The Mummies,
Bush Tetras,
The United States of America,
Au Pairs,
Icehouse,
Amon Düül II,
Fugazi,
Reuben Wilson,
Sixth Finger,
Kenny Larkin,
Yaz,
The Last Poets,
Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo.
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.