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 Armenia and from Tokyo.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Beijing and Woodstock.
I'm losing my edge to the art-school New York 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 Wire practice in a loft in Watford.
I was working on the mellotron 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 Alice Coltrane to the grime kids.
I played it at the 40 Watt.
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 Skatalites. All the underground hits.
All Bill Wells tracks. I heard you have a vinyl of every Gerry Rafferty 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 '90s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Brothers Johnson record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang of Four,
Donald Byrd,
Wasted Youth,
Nick Fraelich,
Ludus,
Cal Tjader,
June Days,
Black Pus,
Talk Talk,
Severed Heads,
The Victims,
Roxy Music,
The Dead C,
The Cure,
Toni Rubio,
kango's stein massive,
Grandmaster Flash,
Skaos,
The Birthday Party,
Avey Tare & Kría Brekkan,
Bang on a Can All-Stars,
Ohio Players,
Gastr Del Sol,
Jeff Mills,
Echo & the Bunnymen,
Sight & Sound,
Soft Machine,
Supertramp,
Jimmy McGriff,
Kerri Chandler,
The Human League,
Joensuu 1685,
The Move,
Frankie Knuckles,
Scientists,
The Mighty Diamonds,
The Doobie Brothers,
Eddi Front,
A Certain Ratio,
The American Breed,
Neil Young,
Minny Pops,
Accadde A,
Black Sheep,
The Pop Group,
DeepChord presents Echospace,
June of 44,
Eden Ahbez,
Visage,
Pierre Henry,
Eli Mardock,
Darondo,
Qualms,
Robert Görl,
New York Dolls,
Monolake,
The Offenders,
Bizarre Inc.,
Fear,
Gil Scott-Heron and Jamie xx,
Suburban Knight,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.