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 Angola and from Stockholm.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1972.
I'm losing my edge.
To all the kids in Johannesburg and Milan.
I'm losing my edge to the art-school Delhi 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 synthesizer 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 Oppenheimer Analysis to the dance 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 Tears for Fears. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every Mad Mike 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 '60s cut and another box set from the '70s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Byron Stingily record.
I hear that you and your band have sold your rhodes and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül II,
Ronan,
Excepter,
Orchestral Manoeuvres in the Dark,
Aaron Thompson,
Vaughan Mason & Crew,
Brand Nubian,
Boogie Down Productions,
Tears for Fears,
Andrew Hill,
Todd Terry,
The Standells,
Anthony Braxton,
Jeff Lynne,
Josef K,
Little Man,
FM Einheit,
Kings Of Tomorrow,
B.T. Express,
Section 25,
Model 500,
Jandek,
Lebanon Hanover,
The Pretty Things,
Mission of Burma,
Thinking Fellers Union Local 282,
These Immortal Souls,
Dawn Penn,
The Golliwogs,
Camouflage,
The Searchers,
The Doobie Brothers,
The J.B.'s,
D'Angelo,
The Modern Lovers,
Barrington Levy,
Ralphi Rosario,
Oppenheimer Analysis,
Sam Rivers,
Monks,
L. Decosne,
Joey Negro,
The Electric Prunes,
The Toasters,
Throbbing Gristle,
Marc Romboy vs. Booka Shade,
Young Marble Giants,
Swans,
Ultravox,
The Fortunes,
Arcadia,
Man Eating Sloth,
Circle Jerks,
Kayak,
Mars,
Warren Ellis,
Pylon,
Flipper,
Avey Tare,
Flash Fearless, Flash Fearless, Flash Fearless, Flash Fearless.
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.