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 Australia and from Lagos.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Toronto and Tokyo.
I'm losing my edge to the art-school Beijing 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 1984 at the first Arcadia practice in a loft in London.
I was working on the snare 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 Henry Cow to the funk kids.
I played it at the 40 Watt.
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 Country Joe & The Fish tracks. I heard you have a vinyl of every Peter & Gordon 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 '60s cut and another box set from the '90s.
I hear you're buying a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Rod Modell record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brothers Johnson,
Byron Stingily,
Neu!,
Tres Demented,
The Electric Prunes,
Deepchord,
Deakin,
Bronski Beat,
MDC,
The Busters,
Duran Duran,
Bobbi Humphrey,
Oppenheimer Analysis,
Swell Maps,
David McCallum,
Avey Tare,
Be Bop Deluxe,
Howard Jones,
Monks,
Gerry Rafferty,
48th St. Collective,
Ajijia Myrayebe,
Massinfluence,
Soul II Soul,
Nick Cave & The Bad Seeds,
Gregory Isaacs,
Throbbing Gristle,
Maleditus Sound,
The Monochrome Set,
PIL,
LL Cool J,
The Fall,
Pierre Henry,
Gil Scott Heron,
Juan Atkins,
Marshall Jefferson,
Liliput,
Scott Walker + Sunn O))),
Eric Dolphy,
T. Rex,
Slave,
Lebanon Hanover,
Eli Mardock,
Fifty Foot Hose,
Popol Vuh,
Kayak,
Stereo Dub,
Altered Images,
R.M.O.,
Intrusion,
Eric B and Rakim,
The Golliwogs,
The United States of America,
The Mighty Diamonds,
A Certain Ratio,
Sixth Finger,
Angels of Light & Akron/Family,
Desert Stars,
Boogie Down Productions, Boogie Down Productions, Boogie Down Productions, Boogie Down Productions.
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.