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 Bahamas and from Bologna.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Johannesburg 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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 Kango’s Stein Massive to the dance 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 Roger Hodgson. All the underground hits.
All Lizzy Mercier Descloux tracks. I heard you have a vinyl of every Tomorrow record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Cowsills record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Bowie,
The Cosmic Jokers,
Colin Newman,
Barclay James Harvest,
Whodini,
10cc,
F. McDonald,
Gang Green,
B.T. Express,
Mr. Review,
Lightning Bolt,
Amon Düül II,
The Associates,
Neil Young,
Tears for Fears,
Danielle Patucci,
Pharaoh Sanders and the Fire Engines,
X-Ray Spex,
Röyhkä ja Rättö ja Lehtisalo,
Bad Manners,
Swell Maps,
L. Decosne,
Half Japanese,
Oneida,
The Shadows of Knight,
Vaughan Mason & Crew,
X-101,
Bill Near,
Archie Shepp,
Pere Ubu,
The Fugs,
U.S. Maple,
Dorothy Ashby,
Bush Tetras,
Kauko Röyhkä ja Narttu,
Todd Terry,
Ralphi Rosario,
Bronski Beat,
Little Man,
Bobby Sherman,
Blossom Toes,
AZ,
Hot Snakes,
The Detroit Cobras,
Black Sheep,
Pylon,
Gerry Rafferty,
Ornette Coleman,
Funky Four + One,
Lower 48,
Stereo Dub,
Rapeman,
Sly & The Family Stone,
Drive Like Jehu,
The Move,
Harpers Bizarre,
Crooked Eye,
Black Moon,
Marmalade,
Brass Construction,
Interpol,
Pete Rock & C.L. Smooth,
Pharoah Sanders, Pharoah Sanders, Pharoah Sanders, Pharoah Sanders.
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.