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 Iceland and from Madrid.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Calgary and Winnipeg.
I'm losing my edge to the art-school Bremen 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 1978 at the first Visage practice in a loft in London.
I was working on the sitar 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 Minutemen to the crunk 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 Mars. All the underground hits.
All Gichy Dan tracks. I heard you have a vinyl of every the Human League 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 '70s cut and another box set from the '90s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your marimba and bought a 808.
I hear that you and your band have sold your 808 and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Los Fastidios,
Camouflage,
B.T. Express,
Gang Green,
Bob Dylan,
Sight & Sound,
The Real Kids,
Parry Music,
Pantaleimon,
The Neon Judgement,
Darondo,
It's A Beautiful Day,
The Doobie Brothers,
Avey Tare & Kría Brekkan,
Country Teasers,
Orchestral Manoeuvres in the Dark,
Crash Course in Science,
K-Klass,
Swans,
Cabaret Voltaire,
Roxette,
Warsaw,
Q65,
Fugazi,
Jandek,
Charles Mingus,
The Grass Roots,
Soft Machine,
Bauhaus,
Flamin' Groovies,
Avey Tare's Slasher Flicks,
The Durutti Column,
Boredoms,
Kool Moe Dee,
The Pretty Things,
Echo & the Bunnymen,
Soulsonic Force,
Joe Smooth,
Barbara Tucker,
The Sonics,
Dawn Penn,
Curtis Mayfield,
Unrelated Segments,
The Moody Blues,
Letta Mbulu,
Blancmange,
kango's stein massive,
Motorama,
Jeff Mills,
World's Most,
Chris Corsano,
Avey Tare,
Crispian St. Peters,
Ultra Naté,
Basic Channel,
Young Marble Giants,
Electric Prunes,
Roy Ayers,
The Martian,
L. Decosne,
The Smoke,
Leonard Cohen,
Fifty Foot Hose,
Half Japanese,
Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck.
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.