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 Bhutan and from Houston.
But I was there.
I was there in .
I was there at the first Suicide 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 1960 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Sao Paulo.
I'm losing my edge to the art-school Seoul 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 mellotron sounds with much patience.
I was there when Donald Fagen 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 Shoche to the rap 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 the Swans. All the underground hits.
All Angels of Light & Akron/Family tracks. I heard you have a vinyl of every Bad Manners 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 '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Mary Jane Girls record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Don Cherry,
Black Pus,
Urselle,
Camberwell Now,
The Techniques,
Make Up,
The Motions,
Siglo XX,
Clear Light,
Curtis Mayfield,
Lower 48,
Wasted Youth,
Sparks,
Liaisons Dangereuses,
Throbbing Gristle,
Royal Trux,
Negative Approach,
Unwound,
Model 500,
Electric Light Orchestra,
Oppenheimer Analysis,
Sexual Harrassment,
Sound Behaviour,
Glambeats Corp.,
ABBA,
Ronan,
Simply Red,
Darondo,
Kings Of Tomorrow,
The Cowsills,
Lakeside,
Gregory Isaacs,
Toni Rubio,
Junior Murvin,
Deadbeat,
These Immortal Souls,
Aural Exciters,
The Walker Brothers,
Cymande,
Steve Hackett,
The Happenings,
Soul II Soul,
Lou Reed,
Gabor Szabo,
Arab on Radar,
Agitation Free,
Ornette Coleman,
Alphaville,
Essential Logic,
Kerri Chandler,
Jeff Mills,
Eric Copeland,
Echospace,
Joyce Sims,
Lalann,
Glenn Branca,
The Mighty Diamonds,
Bluetip,
Donald Byrd,
D'Angelo,
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.