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 Malaysia and from Toronto.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Beijing and Lille.
I'm losing my edge to the art-school Cairo 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 clarinet sounds with much patience.
I was there when Donald Fagen 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 Niagra to the dance kids.
I played it at the 40 Watt.
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 Pierre Henry. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every Piero Umiliani record on German import.
I heard that you have a white label of every seminal electroclash 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 a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Funky Four + One record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kenny Larkin,
The Red Krayola,
Toni Rubio,
Super Lover Cee & Casanova Rud,
Jeru the Damaja,
The Divine Comedy,
Crash Course in Science,
Tres Demented,
Faraquet,
Vainqueur,
Jeff Mills,
Angry Samoans,
Nation of Ulysses,
Robert Görl,
Sight & Sound,
R.M.O.,
Soft Cell,
Judy Mowatt,
Qualms,
Stetsasonic,
Kevin Saunderson,
The Fire Engines,
Amon Düül,
Bobby Womack,
The Evens,
Gabor Szabo,
Letta Mbulu,
The Gories,
Sister Nancy,
New Order,
Stereo Dub,
John Holt,
Yusef Lateef,
Marc Almond,
Lucky Dragons,
Pantaleimon,
Pet Shop Boys,
Grey Daturas,
Los Fastidios,
Siglo XX,
The Dirtbombs,
The Searchers,
Barry Ungar,
Make Up,
The Alarm Clocks,
Underground Resistance,
Drexciya,
Al Stewart,
Funkadelic,
Quando Quango,
Essential Logic,
Moebius,
Das Ding,
Pete Rock & C.L. Smooth,
Jacob Miller,
Electric Prunes,
These Immortal Souls,
Notorious BIG live in Amsterdam,
Erykah Badu,
F. McDonald,
Ultravox,
Aural Exciters,
Young Marble Giants,
Audionom, Audionom, Audionom, Audionom.
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.