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 Somalia and from Tehran.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Spokane and Accra.
I'm losing my edge to the art-school Houston 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 1973 at the first Television practice in a loft in New York.
I was working on the rhodes sounds with much patience.
I was there when Lou Reed 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 Piero Umiliani to the techno kids.
I played it at the Hacienda.
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 The Busters. All the underground hits.
All Sexual Harrassment tracks. I heard you have a vinyl of every Cheater Slicks record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a It's A Beautiful Day record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantaleimon,
a-ha,
Barclay James Harvest,
The Gun Club,
Flash Fearless,
Major Organ And The Adding Machine,
Simply Red,
Lightning Bolt,
Scott Walker + Sunn O))),
Sister Nancy,
The Trojans,
Mad Mike,
Gil Scott-Heron & Brian Jackson,
These Immortal Souls,
Funkadelic,
The Associates,
Funky Four + One,
James White and The Blacks,
Minnie Riperton,
Jandek,
The Litter,
Quantec,
Lalann,
London Community Gospel Choir,
Pharoah Sanders,
Barbara Tucker,
The Angels of Light,
X-101,
Second Layer,
Cameo,
Masters at Work,
Kurtis Blow,
Country Joe & The Fish,
Morten Harket,
Mark Hollis,
Yellowson,
Kevin Saunderson,
Mission of Burma,
Kayak,
Sam Rivers,
Kerrie Biddell,
Roxy Music,
The Remains,
Deakin,
The Monks,
ABBA,
The Electric Prunes,
Spandau Ballet,
Jacques Brel,
Animal Collective,
Donald Byrd,
Rekid,
Ponytail,
Reuben Wilson,
Lindisfarne,
Don Cherry,
John Lydon,
Wolf Eyes,
Cheater Slicks,
The Dave Clark Five,
Arthur Verocai,
Popol Vuh,
Bootsy Collins,
Michelle Simonal, Michelle Simonal, Michelle Simonal, Michelle Simonal.
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.