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 Guatemala and from Mexico City.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Manila and Manila.
I'm losing my edge to the art-school Tokyo 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 güiro 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 The Doobie Brothers to the disco 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 Harpers Bizarre. All the underground hits.
All Slave tracks. I heard you have a vinyl of every Soulsonic Force record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
Visionaries,LMNO, T- Love & Iriscience,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Skatalites,
Monks,
Neu!,
Khruangbin,
Gong,
John Holt,
James Chance & The Contortions,
Sun City Girls,
Pulsallama,
Wings,
London Community Gospel Choir,
The Zeros,
Bobby Sherman,
Chris & Cosey,
Bobby Byrd,
Eddi Front,
Eden Ahbez,
Country Teasers,
World's Most,
Joy Division,
Dawn Penn,
Oppenheimer Analysis,
Joe Finger,
The Names,
Nico,
The Invisible,
the Soft Cell,
Rotary Connection,
Quadrant,
Urselle,
KRS-One,
Albert Ayler,
Ohio Players,
Sällskapet,
Sonny Sharrock,
Wasted Youth,
Eli Mardock,
Amon Düül II,
Avey Tare & Kría Brekkan,
Wally Richardson,
Godley & Creme,
Traffic Nightmare,
Unrelated Segments,
Bluetip,
Louis and Bebe Barron,
Flash Fearless,
Tommy Roe,
Jeru the Damaja,
The Leaves,
Glambeats Corp.,
The Misunderstood,
Motorama,
Deepchord,
Teenage Jesus and the Jerks,
Cameo,
Parry Music,
Shuggie Otis,
New Age Steppers,
Gichy Dan,
Aswad, Aswad, Aswad, Aswad.
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.