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 Cambodia and from Manila.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Manila and Bologna.
I'm losing my edge to the art-school Toronto 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 1976 at the first Chic practice in a loft in New York.
I was working on the mellotron sounds with much patience.
I was there when Tom Verlaine 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 Heaven 17 to the electroclash kids.
I played it at the Hacienda.
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 The Young Rascals. All the underground hits.
All The Blues Magoos tracks. I heard you have a vinyl of every Angry Samoans record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Saints record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terrestrial Tones,
Flash Fearless,
Henry Cow,
Gil Scott-Heron and Jamie xx,
B.T. Express,
Cecil Taylor,
Massinfluence,
Kas Product,
UT,
Selector Dub Narcotic,
Lou Reed & Metallica,
Graham Central Station,
Andrew Hill,
Heaven 17,
Curtis Mayfield,
ABC,
Johnny Clarke,
Neu!,
David McCallum,
Matthew Halsall,
Liliput,
The Moleskins,
Pet Shop Boys,
Lebanon Hanover,
The Stooges,
Rowland S Howard / Lydia Lunch,
Roger Hodgson,
Minor Threat,
Wolf Eyes,
Black Pus,
Popol Vuh,
The Electric Prunes,
Rhythm & Sound,
Rites of Spring,
Ossler,
Deepchord,
Bobby Hutcherson,
The Remains,
Chrome,
Newcleus,
Sight & Sound,
Siouxsie and the Banshees,
Gabor Szabo,
Harry Pussy,
the Human League,
Funkadelic,
The J.B.'s,
The United States of America,
kango's stein massive,
Duran Duran,
Alice Coltrane,
Gastr Del Sol,
Gang Starr,
the Sonics,
Art Ensemble Of Chicago,
Make Up,
Jimmy McGriff,
Piero Umiliani,
Nas,
Quando Quango,
Rakim,
Bobbi Humphrey,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.