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 Oman and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1978.
I'm losing my edge.
To all the kids in Accra and Lyon.
I'm losing my edge to the art-school Accra 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 organ 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 Chris & Cosey to the crunk kids.
I played it at Trash.
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 Erasure. All the underground hits.
All Pharoah Sanders tracks. I heard you have a vinyl of every Alice Coltrane 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 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Jerry Gold Smith record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Electric Prunes,
Amon Düül,
Eli Mardock,
Johnny Osbourne,
Minor Threat,
T. Rex,
Mars,
The United States of America,
Q and Not U,
X-Ray Spex,
Sugar Minott,
T.S.O.L.,
UT,
Excepter,
Tomorrow,
Gregory Isaacs,
Vainqueur,
Man Eating Sloth,
Average White Band,
Chrome,
Deepchord,
Lou Reed & John Cale,
Terrestrial Tones,
The Blues Magoos,
China Crisis,
Mr. Review,
Radiohead,
Notorious Big And Bone Thugs,
Man Parrish,
Joyce Sims,
Half Japanese,
Jesper Dahlbäck,
Nils Olav,
Todd Rundgren,
John Coltrane,
Faust,
Accadde A,
Sonic Youth,
ABBA,
Skriet,
Khruangbin,
Icehouse,
the Germs,
Cameo,
Marvin Gaye,
Visionaries,LMNO, T- Love & Iriscience,
The Toasters,
Das Ding,
The Divine Comedy,
Mark Hollis,
The Sound,
F. McDonald,
Arthur Verocai,
June Days,
Loose Ends,
Essential Logic,
Silicon Teens,
Janne Schatter,
Angry Samoans,
Roy Ayers,
Scion,
Sonny Sharrock,
Crime, Crime, Crime, Crime.
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.