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 Tonga and from Shanghai.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Calgary and Paris.
I'm losing my edge to the art-school Portland 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 arpeggiator 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 The Vogues to the jazz 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 Mad Mike. All the underground hits.
All Dawn Penn tracks. I heard you have a vinyl of every The United States of America 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 '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a theremin 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?
Louis and Bebe Barron,
kango's stein massive,
Japan,
Amazonics,
Pagans,
Girls At Our Best!,
The Standells,
Maleditus Sound,
The New Christs,
Kevin Saunderson,
The Zeros,
Tubeway Army,
Sun Ra Arkestra,
Neu!,
Delon & Dalcan,
The Sisters of Mercy,
Matthew Halsall,
Oblivians,
Angry Samoans,
Be Bop Deluxe,
June Days,
Amon Düül,
Vainqueur,
La Düsseldorf,
Bang on a Can All-Stars,
Lightning Bolt,
Angels of Light & Akron/Family,
Unrelated Segments,
The Residents,
Joey Negro,
Masters at Work,
Essential Logic,
Wolf Eyes,
Rhythm & Sound,
Dawn Penn,
Moss Icon,
Sound Behaviour,
Fort Wilson Riot,
Howard Jones,
Von Mondo,
Echospace,
Glenn Branca,
Blancmange,
Infiniti,
Beasts of Bourbon,
Manfred Mann's Earth Band,
Henry Cow,
Easy Going,
Youth Brigade,
Swell Maps,
Bob Dylan,
Q65,
E-Dancer,
Dr. Dre and Snoop Doggy Dog,
Peter and Kerry,
Massinfluence,
Lalann,
The Peanut Butter Conspiracy,
Marvin Gaye,
Bad Manners,
Roger Hodgson,
Index, Index, Index, Index.
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.