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 Cameroon and from Portland.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1968 to 1975.
I'm losing my edge.
To all the kids in London and Beijing.
I'm losing my edge to the art-school Bologna 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 mellotron 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 The Martian to the dance 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 The Velvet Underground. All the underground hits.
All Ken Boothe tracks. I heard you have a vinyl of every The United States of America 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 '70s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Au Pairs record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radio Birdman,
These Immortal Souls,
CMW,
Hardrive,
Bill Near,
The Angels of Light,
Public Image Ltd.,
Gil Scott-Heron and Jamie xx,
Gong,
Marcia Griffiths,
The Move,
Pierre Henry,
FM Einheit,
Rahsaan Roland Kirk,
The J.B.'s,
Yusef Lateef,
Rod Modell,
Khruangbin,
Be Bop Deluxe,
Sun Ra,
Gang Starr,
Matthew Bourne,
Massinfluence,
Gary Puckett & The Union Gap,
Ten City,
Swell Maps,
Robert Hood,
Animal Collective,
Sixth Finger,
Second Layer,
China Crisis,
Bizarre Inc.,
Pharoah Sanders,
Soft Machine,
Deadbeat,
The Detroit Cobras,
Faust,
Au Pairs,
The Music Machine,
The Seeds,
Nas,
Gil Scott Heron,
Todd Rundgren,
R.M.O.,
Adolescents,
Black Sheep,
The Sound,
The Motions,
Malaria!,
Ultimate Spinach,
The Fire Engines,
Bauhaus,
The Smiths,
Andrew Ashong & Theo Parrish,
Drive Like Jehu,
This Heat,
Clear Light,
Country Joe & The Fish,
Man Parrish,
The Monks,
Masters at Work,
David McCallum,
Electric Prunes, Electric Prunes, Electric Prunes, Electric Prunes.
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.