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 Mali and from Woodstock.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Hong Kong.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the oboe sounds with much patience.
I was there when Donald Fagen 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 Yellowson to the jazz 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 Q65. All the underground hits.
All Funkadelic tracks. I heard you have a vinyl of every Rowland S Howard / Lydia Lunch record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Charles Mingus,
The Sisters of Mercy,
Dark Day,
Lee Hazlewood,
The Sound,
Sun Ra,
Jandek,
Minor Threat,
Ornette Coleman,
Aaron Thompson,
Delon & Dalcan,
Model 500,
The Techniques,
David McCallum,
The Motions,
Stiv Bators,
Marmalade,
the Human League,
Frankie Knuckles,
Zero Boys,
Pete Rock & C.L. Smooth,
London Community Gospel Choir,
Harry Pussy,
Peter and Kerry,
Alton Ellis,
The Beau Brummels,
Althea and Donna,
Gang of Four,
Electric Prunes,
Rufus Thomas,
Davy DMX,
A Flock of Seagulls,
Ten City,
Aural Exciters,
The Star Department,
Anakelly,
Mo-Dettes,
Angels of Light & Akron/Family,
Radiopuhelimet,
Gang Starr,
Television Personalities,
Gabor Szabo,
Procol Harum,
Flamin' Groovies,
H. Thieme,
Laurel Aitken,
Suicide,
John Holt,
One Last Wish,
Circle Jerks,
Barclay James Harvest,
Newcleus,
It's A Beautiful Day,
Main Source,
Stereo Dub,
John Foxx,
Gang Gang Dance,
Colin Newman,
X-Ray Spex,
Underground Resistance,
Pet Shop Boys,
Rites of Spring,
Fear, Fear, Fear, Fear.
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.