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 Georgia and from Columbus.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Seoul and Copenhagen.
I'm losing my edge to the art-school Toronto 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 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 Excepter to the disco 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 Los Fastidios. All the underground hits.
All The Golliwogs tracks. I heard you have a vinyl of every The Offenders record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Peanut Butter Conspiracy record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
E-Dancer,
Stiv Bators,
Aswad,
John Cale,
The Young Rascals,
Joensuu 1685,
Cybotron,
Hoover,
Pere Ubu,
Aural Exciters,
The Count Five,
The Barracudas,
Laurel Aitken,
Lou Reed,
Main Source,
Gang of Four,
Country Joe & The Fish,
Tres Demented,
U.S. Maple,
The Dave Clark Five,
Marvin Gaye,
Notorious Big And Bone Thugs,
Louis and Bebe Barron,
The Star Department,
Trumans Water,
Tim Buckley,
Justin Hinds & The Dominoes,
Lightning Bolt,
The Moleskins,
This Heat,
Joe Finger,
Camberwell Now,
Supertramp,
Isaac Hayes,
The American Breed,
Sex Pistols,
Desert Stars,
These Immortal Souls,
Kevin Saunderson,
Ken Boothe,
Oblivians,
Country Teasers,
Youth Brigade,
Lucky Dragons,
Zapp,
Deadbeat,
Iggy Pop,
John Lydon,
Sonny Sharrock,
Sam Rivers,
The Shadows of Knight,
Colin Newman,
Cameo,
F. McDonald,
The Fuzztones,
Funkadelic,
Siglo XX,
Susan Cadogan,
Procol Harum,
Fat Boys,
Wings,
Masters at Work,
Slave, Slave, Slave, Slave.
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.