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 Bhutan and from Accra.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Paris and Glasgow.
I'm losing my edge to the art-school Glasgow 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 1968 at the first Bowie practice in a loft in Bromley.
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 Quadrant to the techno kids.
I played it at Trash.
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 The Velvet Underground. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every Spandau Ballet record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your rhodes and bought a guitar.
I hear that you and your band have sold your guitar and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül,
Lou Christie,
A Certain Ratio,
Yaz,
Black Pus,
The Fortunes,
48th St. Collective,
Country Teasers,
Echo & the Bunnymen,
Sexual Harrassment,
Soulsonic Force,
Aswad,
The Fire Engines,
Easy Going,
Marc Romboy vs. Booka Shade,
Pantytec,
Piero Umiliani,
Ajijia Myrayebe,
a-ha,
Porter Ricks,
Subhumans,
Larry & the Blue Notes,
Traffic Nightmare,
Blake Baxter,
Ronan,
The Golliwogs,
Tropical Tobacco,
Aaron Thompson,
Bill Near,
Schoolly D,
UT,
Joy Division,
Lakeside,
Black Sheep,
ABC,
Alphaville,
Buzzcocks,
Kango’s Stein Massive,
CMW,
Avey Tare,
Roy Ayers Ubiquity,
Gil Scott-Heron and Jamie xx,
Beasts of Bourbon,
June Days,
Thinking Fellers Union Local 282,
World's Most,
E-Dancer,
DJ Sneak,
Camberwell Now,
Banda Bassotti,
This Heat,
James Chance & The Contortions,
The Pop Group,
The Sonics,
Avey Tare's Slasher Flicks,
The Zeros,
Johnny Clarke,
Gian Franco Pienzio,
Lebanon Hanover,
Soft Machine,
R.M.O., R.M.O., R.M.O., R.M.O..
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.