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 Romania and from Manila.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Stockholm and Bologna.
I'm losing my edge to the art-school Edmonton 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 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 Louis and Bebe Barron to the funk kids.
I played it at the Troubador.
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 Nation of Ulysses. All the underground hits.
All Sister Nancy tracks. I heard you have a vinyl of every Al Stewart record on German import.
I heard that you have a white label of every seminal rap 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 a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Pharoah Sanders record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kas Product,
Sparks,
Desert Stars,
Steve Hackett,
Scrapy,
Radio Birdman,
The Saints,
John Lydon,
Roy Ayers,
Aloha Tigers,
Oblivians,
Archie Shepp,
Duran Duran,
Sad Lovers and Giants,
Kenny Larkin,
Amon Düül II,
Derrick Morgan,
Lower 48,
Average White Band,
Avey Tare's Slasher Flicks,
Echospace,
Ituana,
Underground Resistance,
Arthur Verocai,
Con Funk Shun,
Max Romeo,
Derrick May,
Jerry's Kids,
Todd Rundgren,
Magazine,
The Pop Group,
Sister Nancy,
Parry Music,
Excepter,
The Red Krayola,
Das Ding,
Eyeless In Gaza,
AZ,
Carl Craig,
The Slits,
Orchestral Manoeuvres in the Dark,
Skriet,
In Retrospect,
Dual Sessions,
Moebius,
Livin' Joy,
Todd Terry,
OOIOO,
U.S. Maple,
The Remains,
Index,
Severed Heads,
Throbbing Gristle,
Clear Light,
Strawberry Alarm Clock,
Chris & Cosey,
Section 25, Section 25, Section 25, Section 25.
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.