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 Bosnia Herzegovina and from Bremen.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Taipei and Bologna.
I'm losing my edge to the art-school Cairo 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 theremin 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 Grass Roots to the crunk kids.
I played it at Cafe Wha.
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 Rod Modell. All the underground hits.
All Rites of Spring tracks. I heard you have a vinyl of every Symarip record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Pylon record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dead Boys,
Duran Duran,
Pole,
Eric B and Rakim,
Rod Modell,
Sam Rivers,
Hashim,
Dennis Brown,
Black Bananas,
Robert Wyatt,
New York Dolls,
Essential Logic,
Bronski Beat,
Animal Collective,
Crash Course in Science,
Lee Hazlewood,
This Heat,
A Certain Ratio,
ABC,
Roy Ayers Ubiquity,
The Neon Judgement,
James Chance & The Contortions,
Nas,
Pere Ubu,
The Motions,
Robert Görl,
Harry Pussy,
Das Ding,
Scott Walker,
Sad Lovers and Giants,
Manfred Mann's Earth Band,
Quando Quango,
Ultra Naté,
Ajijia Myrayebe,
Motorama,
Funky Four + One,
the Slits,
Matthew Bourne,
Negative Approach,
Jacob Miller,
Lou Reed,
Electric Prunes,
Ten City,
Grandmaster Flash and the Furious Five,
La Düsseldorf,
The Music Machine,
Gabor Szabo,
Sun Ra Arkestra,
Johnny Clarke,
Man Parrish,
Mo-Dettes,
Sällskapet,
Sugar Minott,
Brothers Johnson,
Minny Pops,
Davy DMX,
Nick Fraelich,
Oblivians,
Infiniti,
Yusef Lateef, Yusef Lateef, Yusef Lateef, Yusef Lateef.
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.