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 Papua New Guinea and from Stockholm.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1970.
I'm losing my edge.
To all the kids in Salvador and Manila.
I'm losing my edge to the art-school Taipei 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 sitar sounds with much patience.
I was there when Lou Reed 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 Sonny Sharrock to the crunk kids.
I played it at the Astoria.
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 John Foxx. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Monolake 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 '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Quadrant record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
JFA,
Pylon,
The Slackers,
Mandrill,
Organ,
The New Christs,
Jerry Gold Smith,
London Community Gospel Choir,
10cc,
Bill Wells,
The Motions,
Suburban Knight,
La Düsseldorf,
The Stooges,
Peter & Gordon,
Todd Rundgren,
Boredoms,
ABBA,
Amon Düül,
Wings,
Fluxion,
Lee Hazlewood,
The Count Five,
Quadrant,
Tres Demented,
Mantronix,
Gichy Dan,
Alphaville,
Cecil Taylor,
Skarface,
Lonnie Liston Smith,
The Mojo Men,
Sam Rivers,
Visage,
Tropical Tobacco,
Avey Tare & Kría Brekkan,
Grey Daturas,
Charles Mingus,
Beasts of Bourbon,
The Move,
Roger Hodgson,
the Normal,
Talk Talk,
Matthew Bourne,
Pierre Henry,
Darondo,
Orchestral Manoeuvres in the Dark,
cv313,
Leonard Cohen,
The Buckinghams,
The Grass Roots,
Pharaoh Sanders and the Fire Engines,
Los Fastidios,
Slick Rick,
Terry Callier,
Fela Kuti,
Deepchord,
Kurtis Blow,
Joyce Sims,
Slave,
Anakelly,
Heavy D & The Boyz,
Blake Baxter, Blake Baxter, Blake Baxter, Blake Baxter.
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.