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 Norway 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 1979.
I'm losing my edge.
To all the kids in Johannesburg and London.
I'm losing my edge to the art-school Hong Kong 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the theremin 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 Cecil Taylor to the techno kids.
I played it at Cafe Wha.
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 Barclay James Harvest. All the underground hits.
All Procol Harum tracks. I heard you have a vinyl of every Boredoms record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Sherman,
Avey Tare,
Lizzy Mercier Descloux,
Nation of Ulysses,
Crispian St. Peters,
Underground Resistance,
Panda Bear,
Super Lover Cee & Casanova Rud,
Bobby Womack,
June of 44,
Quantec,
The Peanut Butter Conspiracy,
Soul Sonic Force,
Tim Buckley,
Mandrill,
Alison Limerick,
X-101,
Clear Light,
The Stooges,
A Flock of Seagulls,
Pylon,
Ultramagnetic MC's,
The United States of America,
Angels of Light & Akron/Family,
Ohio Players,
The Pop Group,
Anakelly,
Ornette Coleman,
Public Enemy,
Electric Prunes,
Joey Negro,
the Human League,
Judy Mowatt,
Symarip,
Oneida,
Slave,
Junior Murvin,
David McCallum,
Darondo,
The Tremeloes,
Public Image Ltd.,
Eyeless In Gaza,
Johnny Clarke,
Icehouse,
Newcleus,
Blancmange,
Oblivians,
D'Angelo,
Unrelated Segments,
Don Cherry,
Delta 5,
Urselle,
Erasure,
Reagan Youth,
Sam Rivers,
Prince Buster,
Fort Wilson Riot,
The Doors,
Patti Smith,
Con Funk Shun,
The Cosmic Jokers,
Ash Ra Tempel,
Roy Ayers,
Suicide, Suicide, Suicide, Suicide.
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.