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 United States and from Taipei.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Manila and Houston.
I'm losing my edge to the art-school Columbus 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 arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Todd Rundgren to the jazz kids.
I played it at Cafe Wha.
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 UT. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every The Fugs record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Rosa Yemen record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jerry Gold Smith,
Urselle,
B.T. Express,
Electric Prunes,
Scion,
The Busters,
Peter and Kerry,
T. Rex,
The Durutti Column,
Minny Pops,
Alice Coltrane,
The Cosmic Jokers,
Vainqueur,
Nirvana,
James Chance & The Contortions,
Magazine,
Oppenheimer Analysis,
Spandau Ballet,
The Searchers,
Yusef Lateef,
Eddi Front,
Fear,
Crime,
Stereo Dub,
Talk Talk,
These Immortal Souls,
D'Angelo,
X-101,
Monks,
Fatback Band,
cv313,
Marc Almond,
Sun Ra Arkestra,
Tim Buckley,
Mary Jane Girls,
Fad Gadget,
Tomorrow,
Gichy Dan,
China Crisis,
Nik Kershaw,
Pylon,
DJ Style,
The Motions,
The Raincoats,
X-102,
Wasted Youth,
Gil Scott-Heron & Brian Jackson,
Quantec,
Stetsasonic,
Gil Scott Heron,
The Fugs,
Maurizio,
Lebanon Hanover,
The Tremeloes,
the Association,
Bobby Hutcherson,
Rites of Spring,
Can,
Magma,
Mandrill,
Bootsy Collins,
Grandmaster Flash,
Gastr Del Sol,
Lower 48, Lower 48, Lower 48, Lower 48.
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.