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 Slovakia and from Woodstock.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Halifax and Milan.
I'm losing my edge to the art-school Cairo 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 1973 at the first Television practice in a loft in New York.
I was working on the chamberlin 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 Eric Dolphy to the funk kids.
I played it at the Troubador.
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 Rosa Yemen. All the underground hits.
All Gregory Isaacs tracks. I heard you have a vinyl of every Ronnie Foster 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 sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Wake record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Television,
Bob Dylan,
a-ha,
Eric Copeland,
Delta 5,
Half Japanese,
Wasted Youth,
Ituana,
Stereo Dub,
These Immortal Souls,
The Offenders,
Von Mondo,
Desert Stars,
Harpers Bizarre,
Robert Hood,
The Durutti Column,
Gang of Four,
Radio Birdman,
Hot Snakes,
the Bar-Kays,
DJ Style,
The Raincoats,
The Star Department,
Sparks,
Mr. Review,
Lightning Bolt,
Gichy Dan,
R.M.O.,
Red Lorry Yellow Lorry,
Fad Gadget,
Cybotron,
Bronski Beat,
Pulsallama,
The Doors,
The United States of America,
Gerry Rafferty,
Major Organ And The Adding Machine,
Maleditus Sound,
Siglo XX,
Super Lover Cee & Casanova Rud,
Mantronix,
Sad Lovers and Giants,
Erykah Badu,
Bootsy's Rubber Band,
Nick Cave & The Bad Seeds,
Chrome,
The Monks,
Selector Dub Narcotic,
Parry Music,
David Bowie,
The New Christs,
London Community Gospel Choir,
Fear,
Ash Ra Tempel,
Con Funk Shun,
Louis and Bebe Barron,
Second Layer,
Grandmaster Flash and the Furious Five,
Yellowson,
Deadbeat,
Letta Mbulu,
Public Enemy,
Icehouse, Icehouse, Icehouse, Icehouse.
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.