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 Papua New Guinea and from Houston.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Sao Paulo and Lille.
I'm losing my edge to the art-school Glasgow 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 mellotron 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 Ludus to the rock 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 Unrelated Segments. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every Severed Heads record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Shuggie Otis record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heaven 17,
Accadde A,
K-Klass,
The Flesh Eaters,
X-Ray Spex,
Barrington Levy,
Deadbeat,
Art Ensemble Of Chicago,
Blancmange,
Bang on a Can All-Stars,
Skriet,
The Real Kids,
Gabor Szabo,
The Cure,
Roger Hodgson,
Pierre Henry,
Q and Not U,
U.S. Maple,
the Human League,
Symarip,
Notorious BIG live in Amsterdam,
Scott Walker,
Newcleus,
The Cosmic Jokers,
Mark Hollis,
Grauzone,
Wasted Youth,
The Residents,
Pantytec,
Groovy Waters,
Sex Pistols,
Suburban Knight,
Byron Stingily,
Khruangbin,
Kurtis Blow,
The Young Rascals,
Dave Gahan,
Nick Fraelich,
The Count Five,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
B.T. Express,
Gastr Del Sol,
Warren Ellis,
Sun Ra Arkestra,
Bluetip,
Dorothy Ashby,
The Martian,
Robert Görl,
the Fania All-Stars,
Intrusion,
Clear Light,
New York Dolls,
Stetsasonic,
The Skatalites,
Spoonie Gee,
Oblivians,
The Fugs,
The Kinks,
Marcia Griffiths,
Archie Shepp, Archie Shepp, Archie Shepp, Archie Shepp.
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.