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 Benin and from Lyon.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Mumbai and Bremen.
I'm losing my edge to the art-school Jakarta 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 organ sounds with much patience.
I was there when Holger Czukay 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 Al Stewart to the grunge kids.
I played it at the Hacienda.
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 Derrick Morgan. All the underground hits.
All Terrestrial Tones tracks. I heard you have a vinyl of every Negative Approach 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 '80s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlbäck record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donald Byrd,
Fela Kuti,
Funky Four + One,
Lungfish,
Section 25,
Bang On A Can,
Underground Resistance,
Johnny Clarke,
Mary Jane Girls,
Kauko Röyhkä ja Narttu,
Barbara Tucker,
Magazine,
The Pop Group,
Grandmaster Flash and the Furious Five,
Röyhkä ja Rättö ja Lehtisalo,
The Searchers,
Nick Fraelich,
Roger Hodgson,
Notorious BIG live in Amsterdam,
Gian Franco Pienzio,
Deepchord,
Reuben Wilson,
Gastr Del Sol,
Charles Mingus,
Anakelly,
Vladislav Delay,
Marc Almond,
Danielle Patucci,
Maurizio,
The Evens,
E-Dancer,
Hardrive,
Saccharine Trust,
Junior Murvin,
Agitation Free,
Infiniti,
Sarah Menescal,
Manfred Mann's Earth Band,
B.T. Express,
Royal Trux,
Massinfluence,
Technova,
Sight & Sound,
Crispy Ambulance,
The Modern Lovers,
Curtis Mayfield,
Qualms,
Patti Smith,
Derrick Morgan,
Black Moon,
Rekid,
Fort Wilson Riot,
Dennis Brown,
The West Coast Pop Art Experimental Band,
The Saints,
Sad Lovers and Giants,
PIL,
Frankie Knuckles,
The Detroit Cobras,
Eli Mardock,
Idris Muhammad,
The Barracudas,
Soul Sonic Force,
Robert Wyatt, Robert Wyatt, Robert Wyatt, Robert Wyatt.
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.