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 Seychelles and from Mexico City.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Tokyo and New York.
I'm losing my edge to the art-school Columbus 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 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 Bobby Hutcherson to the rap kids.
I played it at the Spitz.
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 The Motions. All the underground hits.
All Livin' Joy tracks. I heard you have a vinyl of every Cal Tjader record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
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 Barclay James Harvest record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Fraelich,
The Martian,
AZ,
Sad Lovers and Giants,
Jesper Dahlback,
Liliput,
DJ Sneak,
Pierre Henry,
Arthur Verocai,
Absolute Body Control,
Morten Harket,
the Association,
The Litter,
Au Pairs,
MC5,
Barrington Levy,
Eve St. Jones,
The Electric Prunes,
The Move,
Cluster,
The Velvet Underground,
Brand Nubian,
Bobby Hutcherson,
Depeche Mode,
Silicon Teens,
LL Cool J,
Danielle Patucci,
Don Cherry,
David Axelrod,
Amon Düül II,
Guru Guru,
Loose Ends,
Richard Hell and the Voidoids,
Trumans Water,
Scan 7,
Aloha Tigers,
B.T. Express,
Goldenarms,
Negative Approach,
Gil Scott Heron,
Echo & the Bunnymen,
It's A Beautiful Day,
The Dave Clark Five,
Steve Hackett,
Kings Of Tomorrow,
Grey Daturas,
Unrelated Segments,
The Moleskins,
Charles Mingus,
The Skatalites,
Erykah Badu,
ABC,
Barry Ungar,
Mr. Review,
The Young Rascals,
The Smoke,
The Beau Brummels,
Marvin Gaye,
The Sound,
Nik Kershaw,
Oppenheimer Analysis,
Average White Band,
Ituana,
Drive Like Jehu,
Technova, Technova, Technova, Technova.
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.