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 Lebanon and from Bologna.
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 1977.
I'm losing my edge.
To all the kids in Tokyo and Stockholm.
I'm losing my edge to the art-school Paris 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the harpsichord 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 The Fuzztones to the jazz kids.
I played it at the Spitz.
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 Neil Young. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every Steve Hackett 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 rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Hoover record.
I hear that you and your band have sold your linndrum and bought a theremin.
I hear that you and your band have sold your theremin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blossom Toes,
the Fania All-Stars,
Technova,
Neil Young & Crazy Horse,
Alice Coltrane,
Sight & Sound,
Slick Rick,
Talk Talk,
Pylon,
Art Ensemble Of Chicago,
The Skatalites,
The Evens,
Brass Construction,
Nils Olav,
Trumans Water,
The Index,
Crash Course in Science,
Interpol,
Brand Nubian,
Faust,
Kurtis Blow,
Bauhaus,
Gerry Rafferty,
London Community Gospel Choir,
Kaleidoscope,
Darondo,
Underground Resistance,
Pussy Galore,
The Invisible,
Gabor Szabo,
Shoche,
The Motions,
Nation of Ulysses,
The Pretty Things,
Altered Images,
Skarface,
Inner City,
Glenn Branca,
Jawbox,
Easy Going,
Zapp,
Flamin' Groovies,
FM Einheit,
Unwound,
The Divine Comedy,
Tubeway Army,
The Sisters of Mercy,
Angry Samoans,
Simply Red,
The Martian,
Radio Birdman,
Reuben Wilson,
Peter & Gordon,
Slave,
Leonard Cohen,
Monolake,
Fifty Foot Hose,
Grandmaster Flash and the Furious Five,
Sällskapet,
Eric Dolphy,
Ronan, Ronan, Ronan, Ronan.
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.