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 South Sudan and from Tokyo.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Lyon and Portland.
I'm losing my edge to the art-school Shanghai 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 harpsichord 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 Al Stewart to the disco 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 Barrington Levy. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every Joy Division 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 '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Barclay James Harvest record.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
KRS-One,
ABBA,
Amon Düül II,
John Holt,
The Human League,
Marshall Jefferson,
The Neon Judgement,
Curtis Mayfield,
Suburban Knight,
The Names,
Public Enemy,
Boz Scaggs,
Gil Scott-Heron & Brian Jackson,
Severed Heads,
The Divine Comedy,
Camberwell Now,
Oneida,
Lee Hazlewood,
Camron Feat. Jay Z And Juelz,
The Slits,
The Sound,
Alison Limerick,
Judy Mowatt,
Q and Not U,
These Immortal Souls,
The Alarm Clocks,
Sällskapet,
Wire,
Jerry's Kids,
The Real Kids,
The Electric Prunes,
Roy Ayers Ubiquity,
Donny Hathaway,
X-102,
Rapeman,
The Cosmic Jokers,
Hardrive,
Marc Almond,
Clear Light,
The Fortunes,
Minor Threat,
Lindisfarne,
Masters at Work,
Peter and Kerry,
Los Fastidios,
Big Daddy Kane,
Kurtis Blow,
The Seeds,
The Moleskins,
Franke,
Lalann,
Erykah Badu,
Tommy Roe,
Pierre Henry,
Cluster,
Lebanon Hanover,
Panda Bear,
La Düsseldorf,
London Community Gospel Choir,
Henry Cow, Henry Cow, Henry Cow, Henry Cow.
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.