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 Sudan and from Mumbai.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Salvador and Columbus.
I'm losing my edge to the art-school Accra 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 spring reverb sounds with much patience.
I was there when Lou Reed 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 Man Parrish to the funk 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 New York Dolls. All the underground hits.
All Monolake tracks. I heard you have a vinyl of every Eurythmics record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Tim Buckley record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boogie Down Productions,
Con Funk Shun,
Mandrill,
Jacques Brel,
Kurtis Blow,
Pere Ubu,
Scott Walker + Sunn O))),
The Motions,
Ludus,
Agent Orange,
Joey Negro,
Archie Shepp,
Deutsch Amerikanische Freundschaft,
Mary Jane Girls,
the Germs,
Audionom,
Gang Green,
Lou Christie,
Jimmy McGriff,
Joy Division,
Sonny Sharrock,
Television,
Todd Terry,
Tropical Tobacco,
Pagans,
The Durutti Column,
Teenage Jesus and the Jerks,
Kenny Larkin,
Godley & Creme,
Roger Hodgson,
Althea and Donna,
Crash Course in Science,
London Community Gospel Choir,
Joe Finger,
Gil Scott-Heron & Brian Jackson,
Bronski Beat,
the Fania All-Stars,
Warsaw,
The Dead C,
The Toasters,
The Pretty Things,
Black Sheep,
Lalo Schifrin,
Thompson Twins,
Radio Birdman,
Shuggie Otis,
Vladislav Delay,
Charles Mingus,
Lyres,
Das Ding,
Camron Feat. Jay Z And Juelz,
Kaleidoscope,
Avey Tare's Slasher Flicks,
Harmonia,
Sarah Menescal,
Electric Prunes,
John Coltrane,
Groovy Waters,
Deakin,
MDC,
Beasts of Bourbon,
Sound Behaviour,
The Kinks, The Kinks, The Kinks, The Kinks.
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.