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 Czech Republic and from Philadelphia.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Beijing and Woodstock.
I'm losing my edge to the art-school Manila 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 Josef K practice in a loft in Edinburgh.
I was working on the oboe 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 Stetsasonic to the grime 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 Doors. All the underground hits.
All Pussy Galore tracks. I heard you have a vinyl of every This Heat record on German import.
I heard that you have a white label of every seminal punk 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 rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your oboe and bought a snare.
I hear that you and your band have sold your snare and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liaisons Dangereuses,
Mission of Burma,
Tim Buckley,
Deutsch Amerikanische Freundschaft,
The Slits,
Wolf Eyes,
ABC,
Hardrive,
Newcleus,
Sandy B,
The Last Poets,
Electric Light Orchestra,
The Flesh Eaters,
Jerry Gold Smith,
Selector Dub Narcotic,
Brand Nubian,
T. Rex,
The Index,
Eric Copeland,
Ultravox,
Symarip,
Khruangbin,
Oppenheimer Analysis,
Matthew Halsall,
Jesper Dahlback,
The Fortunes,
Television Personalities,
The Black Dice,
Big Daddy Kane,
Lonnie Liston Smith,
Visage,
Monks,
Scratch Acid,
Kango’s Stein Massive,
John Foxx,
Angels of Light & Akron/Family,
Graham Central Station,
Marvin Gaye,
Fela Kuti,
Babytalk,
Pere Ubu,
Sight & Sound,
Peter Gordon & Love of Life Orchestra,
Rhythim Is Rhythim,
Massinfluence,
Lalo Schifrin,
Drexciya,
Shuggie Otis,
Ice-T,
Scion,
Spandau Ballet,
Roxy Music,
Andrew Ashong & Theo Parrish,
Masters at Work,
In Retrospect,
Bush Tetras,
Radio Birdman,
Jawbox,
Swans,
Derrick Morgan,
Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron.
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.