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 Ecuador and from Lagos.
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 1960 to 1971.
I'm losing my edge.
To all the kids in London and Hong Kong.
I'm losing my edge to the art-school London 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the mellotron 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 Brothers Johnson to the funk 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 Albert Ayler. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every Moebius 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 '50s cut and another box set from the '80s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Howard Jones,
Ohio Players,
Tubeway Army,
Gang of Four,
Agent Orange,
Lalo Schifrin,
Sarah Menescal,
Suburban Knight,
a-ha,
Kayak,
Crispian St. Peters,
E-Dancer,
The Divine Comedy,
Curtis Mayfield,
Moebius,
Bad Manners,
The Techniques,
The Zeros,
L. Decosne,
Moby Grape,
Minny Pops,
Derrick May,
Pulsallama,
The Seeds,
Radio Birdman,
Alphaville,
Connie Case,
Robert Wyatt,
Leonard Cohen,
Amon Düül,
Yazoo,
Minor Threat,
Todd Terry,
Malaria!,
T.S.O.L.,
Letta Mbulu,
These Immortal Souls,
Avey Tare,
Q and Not U,
The Doors,
Funkadelic,
Gil Scott-Heron and Jamie xx,
The Motions,
Spoonie Gee,
Dawn Penn,
Cybotron,
Sugar Minott,
Neil Young,
Kas Product,
Susan Cadogan,
Henry Cow,
Mantronix,
June of 44,
De La Soul & Jungle Brothers,
Bauhaus,
Tomorrow,
Sexual Harrassment,
Alice Coltrane,
Fatback Band,
Ultravox,
Fugazi, Fugazi, Fugazi, Fugazi.
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.