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 Fiji and from Calgary.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Lagos and Paris.
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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the linndrum sounds with much patience.
I was there when Nile Rodgers 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 Byrd to the jazz kids.
I played it at the Troubador.
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 Talk Talk. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Pylon record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Super Lover Cee & Casanova Rud record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
LL Cool J,
Arthur Verocai,
Liaisons Dangereuses,
Sixth Finger,
The Moleskins,
Cabaret Voltaire,
The Remains,
Sandy B,
The Pretty Things,
Boz Scaggs,
Ituana,
Boredoms,
Das Ding,
Grandmaster Flash,
Bobbi Humphrey,
Unwound,
DJ Sneak,
Joensuu 1685,
The Victims,
Glenn Branca,
The Standells,
Sight & Sound,
10cc,
James Chance & The Contortions,
The Durutti Column,
Aloha Tigers,
Clear Light,
The Angels of Light,
The United States of America,
Dave Gahan,
Rufus Thomas,
Tears for Fears,
Dorothy Ashby,
Sunsets and Hearts,
Drive Like Jehu,
Ultravox,
Sound Behaviour,
Lyres,
Connie Case,
Ultra Naté,
the Slits,
Patti Smith,
Roxy Music,
Sun Ra Arkestra,
June of 44,
The Techniques,
Sam Rivers,
The Saints,
Tropical Tobacco,
Eddi Front,
Hoover,
Barrington Levy,
Shuggie Otis,
Peter & Gordon,
Echospace,
The Jesus and Mary Chain,
Black Moon,
Country Teasers,
The Five Americans,
Easy Going,
Audionom,
Jacques Brel,
The Martian, The Martian, The Martian, The Martian.
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.