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 France and from Stockholm.
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 1979.
I'm losing my edge.
To all the kids in Hong Kong and Edmonton.
I'm losing my edge to the art-school Lagos 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 1976 at the first Chic practice in a loft in New York.
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 Dual Sessions to the grunge 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 Kenny Larkin. All the underground hits.
All Bad Manners tracks. I heard you have a vinyl of every The Cowsills record on German import.
I heard that you have a white label of every seminal dance 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 guitar and a clarinet 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 synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gabor Szabo,
Blake Baxter,
The Zeros,
Pet Shop Boys,
Robert Wyatt,
Loose Ends,
Nils Olav,
Judy Mowatt,
John Holt,
Brand Nubian,
Rotary Connection,
The Fuzztones,
Crime,
Deutsch Amerikanische Freundschaft,
Jeff Lynne,
H. Thieme,
LL Cool J,
The Seeds,
Roy Ayers,
PIL,
Swans,
Lou Reed,
Sarah Menescal,
Amon Düül II,
Peter Gordon & Love of Life Orchestra,
Lalann,
Brass Construction,
Outsiders,
Louis and Bebe Barron,
Stiv Bators,
Camouflage,
The Gun Club,
Thompson Twins,
Minnie Riperton,
Radiohead,
Moss Icon,
DeepChord presents Echospace,
The Star Department,
Ornette Coleman,
Excepter,
Audionom,
Lonnie Liston Smith,
Grauzone,
Gerry Rafferty,
Cal Tjader,
Suicide,
Ultimate Spinach,
Pharaoh Sanders and the Fire Engines,
Deepchord,
Nico,
Robert Görl,
Negative Approach,
Scott Walker + Sunn O))),
Pere Ubu,
Flamin' Groovies,
Beasts of Bourbon,
Reagan Youth,
The Invisible,
Accadde A,
Sparks,
David Bowie,
Bizarre Inc.,
the Slits, the Slits, the Slits, the Slits.
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.