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 Jordan and from Tokyo.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Lyon and Manila.
I'm losing my edge to the art-school Columbus 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the sitar sounds with much patience.
I was there when Michael McDonald 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 Slick Rick 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 Aural Exciters. All the underground hits.
All Curtis Mayfield tracks. I heard you have a vinyl of every Donny Hathaway record on German import.
I heard that you have a white label of every seminal electroclash 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 rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Gabor Szabo record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eyeless In Gaza,
Sight & Sound,
Rosa Yemen,
Monolake,
Lindisfarne,
Popol Vuh,
James Chance & The Contortions,
The Offenders,
Monks,
Peter & Gordon,
Fela Kuti,
The Fire Engines,
Peter Gordon & Love of Life Orchestra,
Pylon,
Cheater Slicks,
Black Pus,
Rapeman,
Bronski Beat,
Bootsy Collins,
The Fortunes,
Lyres,
Blake Baxter,
Royal Trux,
Jacob Miller,
Accadde A,
Fluxion,
Moby Grape,
Ludus,
Sound Behaviour,
The Fuzztones,
Josef K,
Lalann,
Soulsonic Force,
Section 25,
Deutsch Amerikanische Freundschaft,
The Litter,
The Cosmic Jokers,
Dennis Brown,
Rhythim Is Rhythim,
Harmonia,
Pharaoh Sanders and the Fire Engines,
The Golliwogs,
Mad Mike,
Parry Music,
Bob Dylan,
The Invisible,
The Velvet Underground,
Johnny Osbourne,
Camberwell Now,
The Human League,
X-101,
Bobby Sherman,
Hasil Adkins,
X-102,
Fatback Band,
Quadrant,
The Modern Lovers,
John Holt,
Boredoms,
Eurythmics,
The Music Machine,
These Immortal Souls,
the Fania All-Stars,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.