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 Mauritania and from Bologna.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Manchester and London.
I'm losing my edge to the art-school Shanghai 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 1984 at the first Arcadia practice in a loft in London.
I was working on the mellotron 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 Lee Hazlewood to the funk kids.
I played it at the Hacienda.
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 Man Eating Sloth. All the underground hits.
All T. Rex tracks. I heard you have a vinyl of every Simply Red record on German import.
I heard that you have a white label of every seminal crunk 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 a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Beau Brummels record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cluster,
Judy Mowatt,
Sun Ra Arkestra,
Kayak,
Funky Four + One,
Camron Feat. Memphis Bleek And Beenie Seigel,
Barry Ungar,
Isaac Hayes,
Maleditus Sound,
Dual Sessions,
Don Cherry,
Monks,
Mad Mike,
Art Ensemble Of Chicago,
Sad Lovers and Giants,
Zapp,
The Kinks,
Avey Tare,
Buzzcocks,
Essential Logic,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Khruangbin,
Masters at Work,
Gang of Four,
Roger Hodgson,
Graham Central Station,
E-Dancer,
Byron Stingily,
Bobby Hutcherson,
Cheater Slicks,
Can,
Country Teasers,
Rufus Thomas,
Sister Nancy,
Peter Gordon & Love of Life Orchestra,
Index,
Tomorrow,
Quadrant,
Circle Jerks,
Todd Terry,
Basic Channel,
Section 25,
The Saints,
Joe Smooth,
Marshall Jefferson,
Gichy Dan,
Jeff Mills,
Skriet,
Simply Red,
Mark Hollis,
The J.B.'s,
F. McDonald,
Minutemen,
Supertramp,
Harpers Bizarre,
James White and The Blacks,
Black Bananas,
Metal Thangz,
Whodini,
Dead Boys,
Carl Craig,
Howard Jones,
The Zeros,
The United States of America, The United States of America, The United States of America, The United States of America.
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.