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 Grenada 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 1979.
I'm losing my edge.
To all the kids in Salvador and New York.
I'm losing my edge to the art-school Sao Paulo 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 1984 at the first Arcadia practice in a loft in London.
I was working on the harpsichord sounds with much patience.
I was there when David Bowie 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 Japan to the electroclash 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 10cc. All the underground hits.
All Strawberry Alarm Clock tracks. I heard you have a vinyl of every Heaven 17 record on German import.
I heard that you have a white label of every seminal funk 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 spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Nico record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
The Red Krayola,
Nick Fraelich,
Pere Ubu,
The American Breed,
Rekid,
The Leaves,
Anthony Braxton,
Loose Ends,
Smog,
Avey Tare & Kría Brekkan,
The Gun Club,
Sister Nancy,
The Happenings,
Kas Product,
Excepter,
Deutsch Amerikanische Freundschaft,
Jerry's Kids,
The Modern Lovers,
Beasts of Bourbon,
Mo-Dettes,
Brick,
Supertramp,
Visionaries,LMNO, T- Love & Iriscience,
The Litter,
Faust,
Motorama,
James White and The Blacks,
the Germs,
Marvin Gaye,
B.T. Express,
Half Japanese,
Carl Craig,
Donny Hathaway,
Main Source,
Underground Resistance,
Skaos,
Mr. Review,
The Young Rascals,
Ludus,
Section 25,
The Smoke,
The West Coast Pop Art Experimental Band,
Radiohead,
The Moleskins,
Pharaoh Sanders and the Fire Engines,
Procol Harum,
Lungfish,
Hardrive,
John Coltrane,
Scott Walker + Sunn O))),
Soulsonic Force,
Andrew Hill,
Siglo XX,
Jesper Dahlback,
Kerri Chandler,
Soft Cell,
Babytalk,
Alice Coltrane,
Lucky Dragons,
Infiniti,
Steve Hackett,
Harmonia,
The Martian, The Martian, The Martian, The Martian.
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.