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 Burundi and from New York.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Jakarta.
I'm losing my edge to the art-school London 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 linndrum sounds with much patience.
I was there when Nile Rodgers 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 Bang on a Can All-Stars to the grime 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 The Kinks. All the underground hits.
All Rufus Thomas tracks. I heard you have a vinyl of every Sällskapet 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 '60s cut and another box set from the '70s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Country Teasers record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
JFA,
Barclay James Harvest,
Goldenarms,
Gregory Isaacs,
Hot Snakes,
The Smoke,
Wally Richardson,
Scan 7,
Flipper,
the Normal,
Pierre Henry,
De La Soul & Jungle Brothers,
Siouxsie and the Banshees,
Arcadia,
Avey Tare & Kría Brekkan,
Warren Ellis,
Brand Nubian,
Moebius,
The Offenders,
Michelle Simonal,
Pet Shop Boys,
Zapp,
Angry Samoans,
Steve Hackett,
R.M.O.,
Minny Pops,
Bill Near,
Fela Kuti,
The Sound,
the Fania All-Stars,
MDC,
Groovy Waters,
Eric Copeland,
Gabor Szabo,
Sister Nancy,
Depeche Mode,
Tubeway Army,
The Last Poets,
Notorious BIG live in Amsterdam,
Liaisons Dangereuses,
Nirvana,
Circle Jerks,
Spandau Ballet,
Amazonics,
Piero Umiliani,
Ken Boothe,
Manfred Mann's Earth Band,
Connie Case,
The Selecter,
The Fall,
The Detroit Cobras,
The Litter,
Donny Hathaway,
Dark Day,
The Pop Group,
Suburban Knight,
Oblivians,
Black Sheep,
Cabaret Voltaire,
Kayak,
The Mighty Diamonds,
Hoover,
World's Most, World's Most, World's Most, World's Most.
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.