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 Liberia and from Johannesburg.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Lagos and New York.
I'm losing my edge to the art-school Salvador 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the synthesizer 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 Icehouse to the funk 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 Lakeside. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every Gil Scott-Heron and Jamie xx 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 '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
Notorious BIG live in Amsterdam,
Icehouse,
Radio Birdman,
Dorothy Ashby,
Spoonie Gee,
One Last Wish,
The Shadows of Knight,
The Associates,
Soft Cell,
Eddi Front,
Crispy Ambulance,
Freddie Wadling,
Lonnie Liston Smith,
Marc Almond,
Cymande,
The American Breed,
Art Ensemble Of Chicago,
Soul II Soul,
Brand Nubian,
Gabor Szabo,
Sunsets and Hearts,
Erykah Badu,
Cheater Slicks,
Nico,
The Litter,
Gary Puckett & The Union Gap,
Black Bananas,
Roy Ayers Ubiquity,
Arthur Verocai,
Sällskapet,
David Axelrod,
Soft Machine,
The Five Americans,
Fluxion,
Animal Collective,
Terry Callier,
Maleditus Sound,
Lizzy Mercier Descloux,
Soul Sonic Force,
Alice Coltrane,
Junior Murvin,
Bizarre Inc.,
Lightning Bolt,
Echospace,
Zapp,
Orchestral Manoeuvres in the Dark,
The Royal Family And The Poor,
Drexciya,
Teenage Jesus and the Jerks,
The Toasters,
Graham Central Station,
The Fall,
The Doobie Brothers,
Jesper Dahlbäck,
Traffic Nightmare,
Grauzone,
Fort Wilson Riot,
Dave Gahan,
The Stooges,
Babytalk,
Black Flag,
The Fire Engines, The Fire Engines, The Fire Engines, The Fire Engines.
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.