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 Nicaragua and from Shanghai.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Lyon and Manchester.
I'm losing my edge to the art-school Milan 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 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 The West Coast Pop Art Experimental Band to the funk kids.
I played it at the Roxy.
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 Television Personalities. All the underground hits.
All Icehouse tracks. I heard you have a vinyl of every Spandau Ballet 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 '80s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Vogues record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sly & The Family Stone,
Basic Channel,
Juan Atkins,
Clear Light,
ABBA,
The Slackers,
The Smoke,
Rufus Thomas,
Stetsasonic,
Dennis Brown,
The Fire Engines,
Dark Day,
Flipper,
Strawberry Alarm Clock,
Depeche Mode,
Deutsch Amerikanische Freundschaft,
Sam Rivers,
The Cowsills,
Camron Feat. Memphis Bleek And Beenie Seigel,
Byron Stingily,
Sällskapet,
Sight & Sound,
Index,
Freddie Wadling,
Grey Daturas,
Popol Vuh,
Echospace,
Marvin Gaye,
Country Teasers,
The Monochrome Set,
Pharaoh Sanders and the Fire Engines,
Pere Ubu,
Parry Music,
Swans,
Eric Dolphy,
Moby Grape,
Motorama,
Bill Near,
Jesper Dahlbäck,
Skaos,
Ash Ra Tempel,
Sticky Fingaz feat. Raekwon,
The Fuzztones,
Glenn Branca,
DJ Sneak,
Ralphi Rosario,
Röyhkä ja Rättö ja Lehtisalo,
Trumans Water,
The Selecter,
The Cramps,
Eric Copeland,
Jimmy McGriff,
The Pretty Things,
Richard Hell and the Voidoids,
Swell Maps,
Das Ding,
The Index,
Lalann,
Kauko Röyhkä ja Narttu,
Symarip,
Grauzone,
Albert Ayler,
The Gories, The Gories, The Gories, The Gories.
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.