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 Uzbekistan and from London.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Accra.
I'm losing my edge to the art-school London 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the harpsichord sounds with much patience.
I was there when David Bowie 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 Gary Puckett & The Union Gap to the techno kids.
I played it at Cafe Wha.
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 Bobby Hutcherson. All the underground hits.
All Arcadia tracks. I heard you have a vinyl of every The Fortunes record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flash Fearless,
Michelle Simonal,
The Index,
Ronnie Foster,
Roxette,
Janne Schatter,
Mary Jane Girls,
Rahsaan Roland Kirk,
Angry Samoans,
Orchestral Manoeuvres in the Dark,
Minnie Riperton,
Matthew Bourne,
Echo & the Bunnymen,
Sad Lovers and Giants,
kango's stein massive,
Grauzone,
The Tremeloes,
Con Funk Shun,
Motorama,
Flipper,
Eli Mardock,
The Real Kids,
Liaisons Dangereuses,
Black Flag,
Crispian St. Peters,
The Blackbyrds,
The Monochrome Set,
Barrington Levy,
the Association,
Cluster,
The Doobie Brothers,
Jimmy McGriff,
DeepChord presents Echospace,
Outsiders,
Zero Boys,
Don Cherry,
Kango’s Stein Massive,
The Move,
Ornette Coleman,
Ituana,
Newcleus,
Cabaret Voltaire,
Ultravox,
New Age Steppers,
Freddie Wadling,
The Wake,
Theoretical Girls,
Jerry Gold Smith,
Yusef Lateef,
Bizarre Inc.,
Magazine,
Patti Smith,
Todd Rundgren,
Hasil Adkins,
the Normal,
The Young Rascals,
Connie Case,
Pantytec,
Black Bananas,
Mandrill,
Davy DMX, Davy DMX, Davy DMX, Davy DMX.
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.