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 Belize and from Stockholm.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Calgary and Bremen.
I'm losing my edge to the art-school Bologna 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 Donald Fagen 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 Brothers Johnson to the funk kids.
I played it at the Roxy.
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 Graham Central Station. All the underground hits.
All Roxette tracks. I heard you have a vinyl of every Anthony Braxton 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 '50s cut and another box set from the '70s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kerrie Biddell,
Slick Rick,
Avey Tare,
Main Source,
Goldenarms,
Brass Construction,
Charles Mingus,
Throbbing Gristle,
Jeff Lynne,
The Standells,
Moebius,
Kauko Röyhkä ja Narttu,
Jerry's Kids,
Icehouse,
James Chance & The Contortions,
The Invisible,
Mission of Burma,
Girls At Our Best!,
Black Bananas,
Rowland S Howard / Lydia Lunch,
8 Eyed Spy,
Livin' Joy,
Derrick Morgan,
The Red Krayola,
Mo-Dettes,
The West Coast Pop Art Experimental Band,
the Association,
a-ha,
Marshall Jefferson,
Gabor Szabo,
Boogie Down Productions,
E-Dancer,
Audionom,
The Saints,
Sandy B,
The Gap Band,
Minor Threat,
Soulsonic Force,
Darondo,
The Slits,
Donald Byrd,
Todd Terry,
Kevin Saunderson,
Man Parrish,
Liliput,
Justin Hinds & The Dominoes,
H. Thieme,
Crime,
Grey Daturas,
The Blackbyrds,
Can,
Jandek,
Eddi Front,
Flash Fearless,
Ultimate Spinach,
Bobby Womack,
The Index,
DNA,
Desert Stars,
Alton Ellis,
Terror Squad Feat. Camron,
Blake Baxter,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.