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 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 1964 to 1978.
I'm losing my edge.
To all the kids in Seoul and Manchester.
I'm losing my edge to the art-school Madrid 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the chamberlin sounds with much patience.
I was there when Donald Fagen 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 Neil Young to the disco kids.
I played it at the Crocodile.
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 Amon Düül II. All the underground hits.
All Bootsy's Rubber Band tracks. I heard you have a vinyl of every Fatback Band record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your mellotron and bought a 808.
I hear that you and your band have sold your 808 and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eden Ahbez,
Babytalk,
Flipper,
The Count Five,
Slick Rick,
Art Ensemble Of Chicago,
Audionom,
Bill Wells,
Bauhaus,
Masters at Work,
Altered Images,
Pulsallama,
Bizarre Inc.,
DNA,
In Retrospect,
The Leaves,
James Chance & The Contortions,
Mission of Burma,
Eric Dolphy,
Tim Buckley,
Blake Baxter,
The Mighty Diamonds,
The Invisible,
Sun City Girls,
Supertramp,
New Order,
Gichy Dan,
Lebanon Hanover,
The Velvet Underground,
Wings,
Eli Mardock,
Dual Sessions,
Thee Headcoats,
The Wake,
Man Parrish,
The Fire Engines,
Be Bop Deluxe,
Stereo Dub,
Oneida,
The Doobie Brothers,
Erasure,
Andrew Hill,
a-ha,
Desert Stars,
The Raincoats,
Underground Resistance,
Suburban Knight,
E-Dancer,
H. Thieme,
T. Rex,
Yusef Lateef,
Second Layer,
Mars,
The Electric Prunes,
Nation of Ulysses,
Lou Reed,
Sly & The Family Stone,
Deepchord,
Marc Romboy vs. Booka Shade,
Lindisfarne, Lindisfarne, Lindisfarne, Lindisfarne.
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.