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 Portugal and from Lyon.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Mexico City and Toronto.
I'm losing my edge to the art-school New York 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the guitar sounds with much patience.
I was there when Tom Verlaine 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 This Heat to the grunge kids.
I played it at the Hacienda.
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 Eden Ahbez. All the underground hits.
All One Last Wish tracks. I heard you have a vinyl of every Barbara Tucker 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 '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Vladislav Delay record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ken Boothe,
Angry Samoans,
Crime,
Super Lover Cee & Casanova Rud,
Harmonia,
the Association,
Khruangbin,
The Toasters,
Magma,
Peter and Kerry,
Cal Tjader,
Junior Murvin,
Drive Like Jehu,
Panda Bear,
Piero Umiliani,
Nick Cave & The Bad Seeds,
The Five Americans,
Ronnie Foster,
Laurel Aitken,
Negative Approach,
Rosa Yemen,
Pierre Henry,
James Chance & The Contortions,
X-101,
Hardrive,
The Fuzztones,
The Pop Group,
the Human League,
Half Japanese,
Television,
Black Bananas,
Iggy Pop,
Country Joe & The Fish,
Fela Kuti,
Wasted Youth,
The Human League,
Scratch Acid,
Pete Rock & C.L. Smooth,
Reuben Wilson,
R.M.O.,
The Zeros,
Notorious BIG live in Amsterdam,
Idris Muhammad,
Franke,
Pharaoh Sanders and the Fire Engines,
the Soft Cell,
The Wake,
Gian Franco Pienzio,
Sun City Girls,
The Evens,
the Bar-Kays,
Heaven 17,
T.S.O.L.,
Lindisfarne,
Jimmy McGriff,
Al Stewart,
Scan 7,
Sound Behaviour,
Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone.
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.