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 Eritrea and from Taipei.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Lille and Mumbai.
I'm losing my edge to the art-school Tokyo 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 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 Ornette Coleman to the techno kids.
I played it at the Hacienda.
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 The Index. All the underground hits.
All Notorious BIG live in Amsterdam tracks. I heard you have a vinyl of every Mad Mike 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 '60s cut and another box set from the '80s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Peter & Gordon record.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minnie Riperton,
Wighnomy Brothers & Robag Wruhme,
The Leaves,
Moss Icon,
The Detroit Cobras,
China Crisis,
Eddi Front,
Index,
Boz Scaggs,
Magazine,
The Pop Group,
The Tremeloes,
Manfred Mann's Earth Band,
Hardrive,
Black Pus,
Suburban Knight,
Eric B and Rakim,
ABBA,
Moby Grape,
X-Ray Spex,
Alice Coltrane,
The Associates,
Radio Birdman,
Country Joe & The Fish,
Pantaleimon,
Mark Hollis,
Kayak,
A Flock of Seagulls,
De La Soul & Jungle Brothers,
The Skatalites,
Bizarre Inc.,
the Slits,
Vainqueur,
The Gladiators,
Tim Buckley,
Jeru the Damaja,
Sam Rivers,
Amon Düül,
Eric Copeland,
Television Personalities,
The Index,
Sad Lovers and Giants,
Alton Ellis,
Bobbi Humphrey,
Bauhaus,
One Last Wish,
John Holt,
Bob Dylan,
Bang on a Can All-Stars,
Boogie Down Productions,
Scott Walker + Sunn O))),
Supertramp,
Grey Daturas,
Cymande,
Bang On A Can,
Harpers Bizarre,
Main Source,
the Soft Cell,
Gabor Szabo,
The Victims,
Dead Boys,
Babytalk,
Don Cherry,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.