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 Spain and from Calgary.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1965 to 1970.
I'm losing my edge.
To all the kids in Mexico City and Beijing.
I'm losing my edge to the art-school Beijing 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 mellotron 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 Scott Walker + Sunn O))) to the grunge kids.
I played it at the Astoria.
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 Gregory Isaacs. All the underground hits.
All Gil Scott-Heron and Jamie xx tracks. I heard you have a vinyl of every Avey Tare 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 harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Cell,
Radio Birdman,
Model 500,
David Axelrod,
Barry Ungar,
Howard Jones,
The Monks,
The Birthday Party,
The Real Kids,
Aural Exciters,
Al Stewart,
The Peanut Butter Conspiracy,
Gang Green,
Ten City,
Silicon Teens,
Sly & The Family Stone,
Vaughan Mason & Crew,
the Human League,
Bush Tetras,
DJ Style,
Japan,
Rhythim Is Rhythim,
The Martian,
Sight & Sound,
Don Cherry,
Patti Smith,
China Crisis,
Tomorrow,
Crash Course in Science,
X-102,
Scratch Acid,
Lou Reed & Metallica,
World's Most,
Cecil Taylor,
The Neon Judgement,
Todd Terry,
Yaz,
cv313,
Harmonia,
Average White Band,
Duran Duran,
The Fire Engines,
Soul Sonic Force,
Beasts of Bourbon,
The Detroit Cobras,
The Smoke,
kango's stein massive,
Godley & Creme,
Soft Machine,
Young Marble Giants,
Sun Ra,
Infiniti,
Tommy Roe,
Delon & Dalcan,
The Slackers,
Suicide,
DeepChord presents Echospace,
Andrew Hill,
Lizzy Mercier Descloux,
Roy Ayers Ubiquity,
the Germs,
The Seeds, The Seeds, The Seeds, The Seeds.
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.