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 Lebanon and from Beijing.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1971.
I'm losing my edge.
To all the kids in Halifax and Bremen.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the rhodes sounds with much patience.
I was there when David Bowie 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 Derrick Morgan 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 Man Parrish. All the underground hits.
All Mad Mike tracks. I heard you have a vinyl of every Jacques Brel record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach 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?
John Coltrane,
Oneida,
Terry Callier,
The Neon Judgement,
the Slits,
Dave Gahan,
Be Bop Deluxe,
Crispy Ambulance,
Anthony Braxton,
Eddi Front,
Model 500,
The Cosmic Jokers,
Cameo,
The Pretty Things,
Zapp,
Magma,
Lizzy Mercier Descloux,
Aswad,
The Doobie Brothers,
Mission of Burma,
Fear,
Leonard Cohen,
Kayak,
Super Lover Cee & Casanova Rud,
Bobby Womack,
Avey Tare & Kría Brekkan,
Tim Buckley,
Buzzcocks,
Bob Dylan,
Accadde A,
The West Coast Pop Art Experimental Band,
Nation of Ulysses,
Sister Nancy,
Camberwell Now,
Joe Finger,
Rhythm & Sound,
Harpers Bizarre,
Captain Beefheart & His Magic Band,
PIL,
Unwound,
Tomorrow,
Blancmange,
Al Stewart,
Eric Dolphy,
Nas,
Flipper,
the Germs,
Eyeless In Gaza,
Louis and Bebe Barron,
Frankie Knuckles,
Wings,
Peter and Kerry,
Ituana,
Jerry's Kids,
The Knickerbockers,
Eric B and Rakim,
8 Eyed Spy,
These Immortal Souls,
Nik Kershaw,
Y Pants,
Maurizio,
Cheater Slicks, Cheater Slicks, Cheater Slicks, Cheater Slicks.
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.