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 Lyon.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 Columbus and Seoul.
I'm losing my edge to the art-school Accra 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 1971 at the first Big Star practice in a loft in Memphis.
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 Masters at Work 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 Hashim. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every Cecil Taylor record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Depeche Mode record.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Index,
The Moleskins,
The Names,
Average White Band,
Juan Atkins,
Dark Day,
Joe Smooth,
X-102,
Grandmaster Flash and the Furious Five,
Judy Mowatt,
New York Dolls,
Slave,
Andrew Hill,
Tommy Roe,
Don Cherry,
Rosa Yemen,
Gregory Isaacs,
Circle Jerks,
Kauko Röyhkä ja Narttu,
Sugar Minott,
Visage,
H. Thieme,
CMW,
The Associates,
Kayak,
the Soft Cell,
Deadbeat,
The Happenings,
The Angels of Light,
Pulsallama,
Skaos,
Lafayette Afro Rock Band,
Sixth Finger,
Andrew Ashong & Theo Parrish,
The Gladiators,
The Count Five,
Harmonia,
8 Eyed Spy,
Gang Gang Dance,
Kango’s Stein Massive,
Avey Tare's Slasher Flicks,
Unwound,
Henry Cow,
Fela Kuti,
Marine Girls,
Max Romeo,
Mars,
the Fania All-Stars,
Man Parrish,
La Düsseldorf,
Flash Fearless,
Connie Case,
The Velvet Underground,
Pharaoh Sanders and the Fire Engines,
Sam Rivers,
Massinfluence,
Heaven 17,
Sun Ra Arkestra,
Visionaries,LMNO, T- Love & Iriscience,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.