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 Togo and from Sao Paulo.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Manila and Manila.
I'm losing my edge to the art-school London 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Thinking Fellers Union Local 282 to the funk kids.
I played it at CBGB's.
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 Stockholm Monsters. All the underground hits.
All The Five Americans tracks. I heard you have a vinyl of every Boz Scaggs record on German import.
I heard that you have a white label of every seminal punk 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 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Evens record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Litter,
Delon & Dalcan,
Peter & Gordon,
Monks,
Hardrive,
Ronan,
Brass Construction,
Donny Hathaway,
Electric Light Orchestra,
The Remains,
The Toasters,
The Dave Clark Five,
Gabor Szabo,
Echospace,
Boredoms,
Carl Craig,
Kings Of Tomorrow,
The Grass Roots,
Fear,
One Last Wish,
Black Sheep,
Lou Reed,
Thee Headcoats,
A Certain Ratio,
The Young Rascals,
Camouflage,
The Last Poets,
Lou Reed & John Cale,
Sister Nancy,
The Associates,
Organ,
Panda Bear,
Marc Romboy vs. Booka Shade,
Sunsets and Hearts,
Brothers Johnson,
Q and Not U,
Sun Ra Arkestra,
Kaleidoscope,
Ken Boothe,
Stiv Bators,
Alphaville,
Can,
Public Enemy,
The Men They Couldn't Hang,
Pussy Galore,
Electric Prunes,
Michelle Simonal,
Oneida,
Red Lorry Yellow Lorry,
Jawbox,
Kool Moe Dee,
Gang Gang Dance,
Marcia Griffiths,
Marshall Jefferson,
Darondo,
The Mummies,
The Fortunes,
FM Einheit,
KRS-One,
The Cosmic Jokers,
Bauhaus,
Connie Case,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.