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 Uzbekistan 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 1967 to 1972.
I'm losing my edge.
To all the kids in Portland and Manchester.
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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the snare sounds with much patience.
I was there when Nile Rodgers 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 Boz Scaggs to the jazz kids.
I played it at Cafe Wha.
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 Bob Dylan. All the underground hits.
All Bob Dylan tracks. I heard you have a vinyl of every Barrington Levy 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 '50s cut and another box set from the '80s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Martian,
Minny Pops,
The Chocolate Watch Band,
Marcia Griffiths,
Arcadia,
The Standells,
Neu!,
MDC,
DNA,
Lalann,
The Techniques,
Masters at Work,
Nick Fraelich,
Bluetip,
The Slackers,
Public Image Ltd.,
Funkadelic,
Oblivians,
Lonnie Liston Smith,
Cal Tjader,
Radiohead,
Average White Band,
Arthur Verocai,
The Evens,
Unwound,
Rosa Yemen,
Eddi Front,
New Order,
Half Japanese,
Gichy Dan,
Royal Trux,
kango's stein massive,
Harpers Bizarre,
Andrew Hill,
Black Bananas,
James White and The Blacks,
X-Ray Spex,
Mad Mike,
Yaz,
Bobby Womack,
ABBA,
Glambeats Corp.,
Man Parrish,
Accadde A,
Blossom Toes,
Khruangbin,
Oppenheimer Analysis,
Roy Ayers,
The Seeds,
Radio Birdman,
Pharaoh Sanders and the Fire Engines,
Sarah Menescal,
Kaleidoscope,
Beasts of Bourbon,
Suicide,
Strawberry Alarm Clock,
Jacques Brel,
Reuben Wilson,
Rhythm & Sound,
The Sound,
Janne Schatter, Janne Schatter, Janne Schatter, Janne Schatter.
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.