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 Andorra and from Milan.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1970.
I'm losing my edge.
To all the kids in Manchester and London.
I'm losing my edge to the art-school Milan 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 spring reverb 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 Arab on Radar to the techno 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 The Buckinghams. All the underground hits.
All The Cowsills tracks. I heard you have a vinyl of every Hardrive record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Beau Brummels record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris Corsano,
Lalann,
The Cowsills,
The American Breed,
The Moleskins,
Tim Buckley,
Gastr Del Sol,
The Star Department,
Das Ding,
ABC,
Soul II Soul,
Alphaville,
Brand Nubian,
Arab on Radar,
The Red Krayola,
Sugar Minott,
Sexual Harrassment,
OOIOO,
The Move,
Mantronix,
Brass Construction,
Bootsy Collins,
Deepchord,
The Pretty Things,
Kerri Chandler,
Oppenheimer Analysis,
The Doors,
Drive Like Jehu,
Groovy Waters,
The Gun Club,
Nick Fraelich,
Quantec,
This Heat,
LL Cool J,
The Stooges,
Cymande,
Maleditus Sound,
Tears for Fears,
Rhythim Is Rhythim,
Faust,
The Mummies,
Goldenarms,
Pere Ubu,
Traffic Nightmare,
Red Lorry Yellow Lorry,
Henry Cow,
Infiniti,
Albert Ayler,
Warren Ellis,
Public Image Ltd.,
Hasil Adkins,
Dawn Penn,
The Slackers,
Eddi Front,
Godley & Creme,
Marcia Griffiths,
Inner City,
Moby Grape,
Visage,
Wally Richardson,
Ken Boothe,
The Blues Magoos,
The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy.
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.