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 Indonesia and from Winnipeg.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Toronto and Stockholm.
I'm losing my edge to the art-school Seoul 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 1984 at the first Arcadia practice in a loft in London.
I was working on the harpsichord 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 48th St. Collective 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 Skriet. All the underground hits.
All Fluxion tracks. I heard you have a vinyl of every the Swans record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Men They Couldn't Hang record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The West Coast Pop Art Experimental Band,
Jimmy McGriff,
10cc,
Kango’s Stein Massive,
Derrick May,
cv313,
John Cale,
Supertramp,
Richard Hell and the Voidoids,
Avey Tare & Kría Brekkan,
Graham Central Station,
Soulsonic Force,
De La Soul & Jungle Brothers,
The Saints,
Lucky Dragons,
Depeche Mode,
Bill Near,
Jerry's Kids,
Main Source,
The Dirtbombs,
Susan Cadogan,
The Leaves,
Fort Wilson Riot,
Gang Gang Dance,
Scratch Acid,
Pulsallama,
The Human League,
The Cowsills,
Joyce Sims,
The Sound,
Siglo XX,
Underground Resistance,
Faraquet,
June of 44,
Cecil Taylor,
Liaisons Dangereuses,
Marc Romboy vs. Booka Shade,
The Peanut Butter Conspiracy,
Barry Ungar,
Accadde A,
X-Ray Spex,
The Skatalites,
Big Daddy Kane,
DeepChord presents Echospace,
K-Klass,
Peter & Gordon,
The Seeds,
Marshall Jefferson,
Qualms,
Ralphi Rosario,
The Raincoats,
Anthony Braxton,
Oblivians,
The Divine Comedy,
Rosa Yemen,
Vaughan Mason & Crew,
Amon Düül,
Ohio Players,
Popol Vuh,
The Golliwogs,
Fluxion,
Dark Day,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.