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 Congo and from Mumbai.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Shanghai and Jakarta.
I'm losing my edge to the art-school Salvador 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 Throbbing Gristle practice in a loft in London.
I was working on the clarinet 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 Ohio Players to the rap kids.
I played it at the Astoria.
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 Invisible. All the underground hits.
All Nick Fraelich tracks. I heard you have a vinyl of every Outsiders 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 '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar 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 United States of America,
Peter Gordon & Love of Life Orchestra,
Rotary Connection,
Popol Vuh,
Blossom Toes,
Byron Stingily,
The Star Department,
Supertramp,
Mary Jane Girls,
Be Bop Deluxe,
James Chance & The Contortions,
Magma,
The Blackbyrds,
Heaven 17,
The Peanut Butter Conspiracy,
Spoonie Gee,
Vladislav Delay,
Easy Going,
The Buckinghams,
Suicide,
Wally Richardson,
Sarah Menescal,
The Electric Prunes,
Kerri Chandler,
Cheater Slicks,
This Heat,
The Kinks,
The New Christs,
Bauhaus,
Audionom,
ABBA,
Camron Feat. Memphis Bleek And Beenie Seigel,
Suburban Knight,
Simply Red,
John Foxx,
Carl Craig,
Terry Callier,
Dr. Dre and Snoop Doggy Dog,
Pulsallama,
The Victims,
K-Klass,
Dual Sessions,
Amazonics,
Alison Limerick,
Public Enemy,
The J.B.'s,
Glenn Branca,
Slick Rick,
Robert Wyatt,
Jesper Dahlbäck,
Quando Quango,
Don Cherry,
Ohio Players,
Fad Gadget,
Eli Mardock,
The Blues Magoos,
Henry Cow,
Monolake,
Young Marble Giants,
The Royal Family And The Poor,
DJ Style,
Bizarre Inc.,
Shuggie Otis, Shuggie Otis, Shuggie Otis, Shuggie Otis.
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.