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 Bahamas and from Bologna.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1976.
I'm losing my edge.
To all the kids in Paris and Salvador.
I'm losing my edge to the art-school Johannesburg 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the 808 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 Robert Wyatt to the disco 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 Gian Franco Pienzio. All the underground hits.
All Larry & the Blue Notes tracks. I heard you have a vinyl of every Radiohead 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 '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Mr. Review record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron 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?
Ronan,
Kevin Saunderson,
Lindisfarne,
Barrington Levy,
The West Coast Pop Art Experimental Band,
The Peanut Butter Conspiracy,
Piero Umiliani,
Oppenheimer Analysis,
Unrelated Segments,
Robert Wyatt,
Pharaoh Sanders and the Fire Engines,
Electric Prunes,
the Fania All-Stars,
Rites of Spring,
Lou Reed,
Harpers Bizarre,
Moss Icon,
Depeche Mode,
Sparks,
Whodini,
Tim Buckley,
Soul II Soul,
Gerry Rafferty,
Colin Newman,
X-101,
Andrew Ashong & Theo Parrish,
Pylon,
Brass Construction,
ABC,
Excepter,
Minnie Riperton,
Kauko Röyhkä ja Narttu,
Scion,
Audionom,
Von Mondo,
Roy Ayers Ubiquity,
Marvin Gaye,
The Evens,
The Misunderstood,
Minny Pops,
the Bar-Kays,
Ohio Players,
Procol Harum,
Ultra Naté,
Mark Hollis,
Stockholm Monsters,
Rotary Connection,
Crash Course in Science,
Dorothy Ashby,
Public Image Ltd.,
Q and Not U,
John Holt,
The Gories,
Eyeless In Gaza,
The Jesus and Mary Chain,
The Divine Comedy,
Fela Kuti,
Hasil Adkins,
This Heat,
Young Marble Giants,
The Saints, The Saints, The Saints, The Saints.
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.