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 Tonga and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1971.
I'm losing my edge.
To all the kids in Winnipeg and Bremen.
I'm losing my edge to the art-school Bremen 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 synthesizer 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 Minny Pops to the punk kids.
I played it at the Roxy.
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 Camberwell Now. All the underground hits.
All The Motions tracks. I heard you have a vinyl of every The Sound record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlback record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arthur Verocai,
The Vogues,
the Fania All-Stars,
David Axelrod,
Jeff Lynne,
Lightning Bolt,
Alice Coltrane,
Alphaville,
Rites of Spring,
Scan 7,
ABBA,
F. McDonald,
The Fuzztones,
Avey Tare,
Glambeats Corp.,
The Index,
Art Ensemble Of Chicago,
Nirvana,
Minutemen,
Funkadelic,
the Germs,
Youth Brigade,
Young Marble Giants,
Sexual Harrassment,
Bootsy Collins,
Kevin Saunderson,
the Swans,
Roy Ayers,
Eurythmics,
Magazine,
Todd Terry,
Silicon Teens,
Crooked Eye,
Mars,
Whodini,
Laurel Aitken,
Roxy Music,
The American Breed,
Johnny Clarke,
Animal Collective,
Vainqueur,
Nick Cave & The Bad Seeds,
Interpol,
Q and Not U,
Arcadia,
Lebanon Hanover,
Severed Heads,
Joe Finger,
Gabor Szabo,
Technova,
Rosa Yemen,
Quando Quango,
The Techniques,
K-Klass,
Babytalk,
Barry Ungar,
The West Coast Pop Art Experimental Band,
Don Cherry,
Roxette,
Rufus Thomas, Rufus Thomas, Rufus Thomas, Rufus Thomas.
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.