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 Ivory Coast and from Lyon.
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 1975.
I'm losing my edge.
To all the kids in Edmonton and Beijing.
I'm losing my edge to the art-school Cairo 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 1976 at the first Chic practice in a loft in New York.
I was working on the chamberlin 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 Anakelly to the funk kids.
I played it at Trash.
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 Dave Clark Five. All the underground hits.
All Ossler tracks. I heard you have a vinyl of every Half Japanese 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 '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Swell Maps record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drive Like Jehu,
Parry Music,
Gang Starr,
Soft Machine,
James White and The Blacks,
The Saints,
Scott Walker,
Lafayette Afro Rock Band,
Gil Scott-Heron & Brian Jackson,
The Happenings,
John Coltrane,
Ralphi Rosario,
Animal Collective,
Minor Threat,
Harpers Bizarre,
Monks,
Gichy Dan,
The Human League,
John Lydon,
Outsiders,
the Slits,
A Flock of Seagulls,
Bronski Beat,
Panda Bear,
Monolake,
Bluetip,
Gong,
The Gories,
Laurel Aitken,
Jandek,
The Kinks,
Severed Heads,
The Fugs,
The Trojans,
The Mojo Men,
Fugazi,
Ultramagnetic MC's,
Bill Near,
Marmalade,
Gerry Rafferty,
The Litter,
Howard Jones,
Kauko Röyhkä ja Narttu,
The Motions,
Anakelly,
Groovy Waters,
Bizarre Inc.,
Roger Hodgson,
World's Most,
The Index,
Malaria!,
Quadrant,
Crash Course in Science,
Anthony Braxton,
The Detroit Cobras,
Visionaries,LMNO, T- Love & Iriscience,
The Doors,
Lalo Schifrin,
Slave,
Shuggie Otis,
Jesper Dahlbäck,
Yellowson,
Electric Prunes,
Public Image Ltd., Public Image Ltd., Public Image Ltd., Public Image Ltd..
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.