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 Oman and from Manila.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Accra and Seoul.
I'm losing my edge to the art-school Lille 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 rhodes 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 Pussy Galore to the jazz 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 Warren Ellis. All the underground hits.
All Gil Scott Heron tracks. I heard you have a vinyl of every Y Pants record on German import.
I heard that you have a white label of every seminal rap 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 clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Tomorrow record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slick Rick,
Intrusion,
the Fania All-Stars,
Amon Düül,
Warsaw,
Mr. Review,
The Skatalites,
Pantaleimon,
FM Einheit,
Derrick Morgan,
Von Mondo,
Make Up,
Roxette,
Soft Machine,
Black Sheep,
The Flesh Eaters,
Peter and Kerry,
Public Enemy,
Q65,
Robert Hood,
The Buckinghams,
Essential Logic,
Minny Pops,
Metal Thangz,
Sällskapet,
Kool G Rap & DJ Polo,
China Crisis,
Gil Scott-Heron & Brian Jackson,
Kevin Saunderson,
Lightning Bolt,
8 Eyed Spy,
Neil Young & Crazy Horse,
Avey Tare's Slasher Flicks,
The Golliwogs,
Henry Cow,
Bauhaus,
Jerry Gold Smith,
John Lydon,
Shoche,
The Durutti Column,
Aural Exciters,
The Standells,
Unwound,
Strawberry Alarm Clock,
Alphaville,
Al Stewart,
The Divine Comedy,
Drive Like Jehu,
Cameo,
The Doors,
Glenn Branca,
The Stooges,
Basic Channel,
Bluetip,
Con Funk Shun,
Icehouse,
Grandmaster Flash and the Furious Five,
Khruangbin,
Cybotron,
Louis and Bebe Barron,
Panda Bear,
Roy Ayers,
PIL,
Peter & Gordon,
The Modern Lovers, The Modern Lovers, The Modern Lovers, The Modern Lovers.
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.