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 Sri Lanka and from Taipei.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Columbus and Seoul.
I'm losing my edge to the art-school Lyon 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the synthesizer 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 Swell Maps to the grunge kids.
I played it at the Crocodile.
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 Evens. All the underground hits.
All Big Daddy Kane tracks. I heard you have a vinyl of every John Coltrane record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Marcia Griffiths record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faust,
Deepchord,
Mission of Burma,
Wire,
Skaos,
Panda Bear,
Royal Trux,
Arcadia,
Joe Smooth,
The West Coast Pop Art Experimental Band,
KRS-One,
Schoolly D,
John Coltrane,
Can,
Rod Modell,
Swans,
It's A Beautiful Day,
Fear,
The Durutti Column,
Matthew Bourne,
Johnny Osbourne,
Con Funk Shun,
R.M.O.,
Girls At Our Best!,
Nico,
Bronski Beat,
Bad Manners,
Agent Orange,
Don Cherry,
The J.B.'s,
James White and The Blacks,
The Litter,
Infiniti,
The Kinks,
Alton Ellis,
Gastr Del Sol,
Lonnie Liston Smith,
Rites of Spring,
Radiopuhelimet,
The Beau Brummels,
Symarip,
Arthur Verocai,
Main Source,
Soul II Soul,
Outsiders,
Judy Mowatt,
Hot Snakes,
Visage,
Jesper Dahlbäck,
Avey Tare & Kría Brekkan,
The Skatalites,
The Doors,
Lizzy Mercier Descloux,
Tom Boy,
Swell Maps,
Crash Course in Science,
Zero Boys,
The Human League,
Pharoah Sanders,
10cc,
Kerri Chandler,
Carl Craig,
Gary Puckett & The Union Gap, Gary Puckett & The Union Gap, Gary Puckett & The Union Gap, Gary Puckett & The Union Gap.
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.