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 Sierra Leone and from Tokyo.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Hong Kong and Sao Paulo.
I'm losing my edge to the art-school Edmonton 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the spring reverb 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 L. Decosne to the rock kids.
I played it at Cafe Wha.
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 Gang Green. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every Animal Collective record on German import.
I heard that you have a white label of every seminal electroclash 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 marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Pantaleimon record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Sun City Girls,
Drexciya,
The Durutti Column,
Rhythim Is Rhythim,
Notorious Big And Bone Thugs,
Delon & Dalcan,
U.S. Maple,
Index,
Absolute Body Control,
Eli Mardock,
One Last Wish,
Pere Ubu,
Thinking Fellers Union Local 282,
a-ha,
Severed Heads,
Rotary Connection,
Sonic Youth,
Eric B and Rakim,
Can,
Sly & The Family Stone,
Desert Stars,
The Searchers,
Moebius,
Cabaret Voltaire,
Joey Negro,
Excepter,
Nirvana,
Pharoah Sanders,
Inner City,
Mark Hollis,
Mo-Dettes,
The Walker Brothers,
Colin Newman,
The Evens,
Susan Cadogan,
Dual Sessions,
Theoretical Girls,
The Misunderstood,
Aaron Thompson,
Spandau Ballet,
Vaughan Mason & Crew,
Hardrive,
Larry & the Blue Notes,
Swell Maps,
Deepchord,
Marcia Griffiths,
Arthur Verocai,
cv313,
La Düsseldorf,
Steve Hackett,
Glenn Branca,
Fort Wilson Riot,
David McCallum,
Jeff Lynne,
Peter and Kerry,
Michelle Simonal,
The Blackbyrds,
Monks,
Lalo Schifrin,
Janne Schatter,
James Chance & The Contortions,
The Index, The Index, The Index, The Index.
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.