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 Lesotho and from Lyon.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Madrid.
I'm losing my edge to the art-school Manchester 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 1973 at the first Television practice in a loft in New York.
I was working on the harpsichord sounds with much patience.
I was there when Michael McDonald 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 Moss Icon to the techno kids.
I played it at the Spitz.
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 Peter & Gordon. All the underground hits.
All The Chocolate Watch Band tracks. I heard you have a vinyl of every Scion record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Warren Ellis record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
Quantec,
The Sonics,
Pere Ubu,
The Electric Prunes,
Terrestrial Tones,
The Smiths,
Shoche,
The American Breed,
The Durutti Column,
Delon & Dalcan,
Ralphi Rosario,
Electric Prunes,
the Association,
Amon Düül,
New Age Steppers,
John Holt,
Derrick May,
Adolescents,
Joe Smooth,
Matthew Halsall,
Youth Brigade,
Mr. Review,
Sugar Minott,
The Angels of Light,
The Blues Magoos,
Excepter,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Jesper Dahlback,
U.S. Maple,
Rufus Thomas,
The Evens,
Ultravox,
The Misunderstood,
Lindisfarne,
Heaven 17,
Monolake,
Connie Case,
Silicon Teens,
Fugazi,
Sly & The Family Stone,
Scott Walker,
Popol Vuh,
Ajijia Myrayebe,
Minnie Riperton,
The Motions,
The Dave Clark Five,
Vaughan Mason & Crew,
Circle Jerks,
Lalann,
Outsiders,
Quadrant,
The Toasters,
Bobby Hutcherson,
Laurel Aitken,
Robert Görl,
Soft Cell,
Bobby Byrd,
Slick Rick,
Roxette,
Cybotron, Cybotron, Cybotron, Cybotron.
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.