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 Panama and from Johannesburg.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Bologna and Lyon.
I'm losing my edge to the art-school Portland 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 theremin sounds with much patience.
I was there when Robert Palmer 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 Rahsaan Roland Kirk to the techno kids.
I played it at CBGB's.
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 Scott Walker + Sunn O))). All the underground hits.
All Warsaw tracks. I heard you have a vinyl of every In Retrospect record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Cramps record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Selecter,
Absolute Body Control,
Josef K,
the Association,
Camberwell Now,
Bluetip,
the Bar-Kays,
Kauko Röyhkä ja Narttu,
Qualms,
Blossom Toes,
The Sound,
Lungfish,
Flamin' Groovies,
Traffic Nightmare,
The Chocolate Watch Band,
Manfred Mann's Earth Band,
Sonny Sharrock,
Pere Ubu,
Minor Threat,
Jimmy McGriff,
Joe Smooth,
Bob Dylan,
Oblivians,
Al Stewart,
Bronski Beat,
The Cure,
Smog,
Lightning Bolt,
Tommy Roe,
Franke,
Oppenheimer Analysis,
Warren Ellis,
Cabaret Voltaire,
The Gun Club,
The Five Americans,
X-101,
Joensuu 1685,
Heavy D & The Boyz,
Darondo,
Monks,
10cc,
Infiniti,
Juan Atkins,
Sight & Sound,
Scott Walker,
Bush Tetras,
Popol Vuh,
Boz Scaggs,
Stockholm Monsters,
Erasure,
Terror Squad Feat. Camron,
The West Coast Pop Art Experimental Band,
The Neon Judgement,
Lizzy Mercier Descloux,
Kerri Chandler,
Echospace,
Ultra Naté,
The Black Dice,
The Zeros,
Electric Light Orchestra,
The Alarm Clocks,
Adolescents,
Angels of Light & Akron/Family,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.