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 Israel and from Bremen.
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 1975.
I'm losing my edge.
To all the kids in Stockholm and Calgary.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the sitar sounds with much patience.
I was there when Captain Beefheart 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 The Birthday Party to the jazz 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 Boz Scaggs. All the underground hits.
All The Pretty Things tracks. I heard you have a vinyl of every Hoover 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 '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skarface,
Drive Like Jehu,
Spoonie Gee,
Mark Hollis,
Major Organ And The Adding Machine,
This Heat,
Andrew Hill,
the Human League,
Sad Lovers and Giants,
Jerry Gold Smith,
Freddie Wadling,
Maleditus Sound,
Roxy Music,
The Gap Band,
Jandek,
Main Source,
The Tremeloes,
New Age Steppers,
Gil Scott-Heron & Brian Jackson,
Model 500,
the Germs,
Pagans,
Bang on a Can All-Stars,
Rufus Thomas,
Minnie Riperton,
The Mojo Men,
Fear,
Talk Talk,
Deadbeat,
Tears for Fears,
Supertramp,
Joy Division,
Sandy B,
Ten City,
DJ Style,
Easy Going,
Marshall Jefferson,
DeepChord presents Echospace,
Connie Case,
Judy Mowatt,
Graham Central Station,
The Golliwogs,
Procol Harum,
The Shadows of Knight,
Rhythm & Sound,
Country Teasers,
Vaughan Mason & Crew,
The Zeros,
A Certain Ratio,
Infiniti,
the Fania All-Stars,
David Bowie,
The Pretty Things,
E-Dancer,
The Divine Comedy,
Sun Ra,
MDC,
Chrome,
The Associates,
Siglo XX,
Delon & Dalcan,
Gian Franco Pienzio,
DJ Sneak, DJ Sneak, DJ Sneak, DJ Sneak.
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.