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 Serbia and from Stockholm.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1976.
I'm losing my edge.
To all the kids in London and Lagos.
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 harpsichord 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 Roy Ayers Ubiquity to the funk kids.
I played it at the Spitz.
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 Associates. All the underground hits.
All Barrington Levy tracks. I heard you have a vinyl of every Dead Boys record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joey Negro,
Harry Pussy,
Model 500,
Art Ensemble Of Chicago,
The Wake,
Beasts of Bourbon,
Gang Gang Dance,
Bang On A Can,
Crime,
Sonic Youth,
John Lydon,
Shoche,
Accadde A,
Lou Christie,
Eve St. Jones,
Vladislav Delay,
H. Thieme,
Roxy Music,
Traffic Nightmare,
Mission of Burma,
World's Most,
Eden Ahbez,
The Cure,
Oblivians,
New Age Steppers,
The Index,
Steve Hackett,
Sight & Sound,
The Dead C,
A Flock of Seagulls,
Lonnie Liston Smith,
Notorious Big And Bone Thugs,
48th St. Collective,
Eddi Front,
Sun City Girls,
Tubeway Army,
The Moleskins,
Nirvana,
Johnny Clarke,
Hashim,
De La Soul & Jungle Brothers,
Von Mondo,
Kas Product,
Symarip,
Super Lover Cee & Casanova Rud,
Pharoah Sanders,
Visionaries,LMNO, T- Love & Iriscience,
Popol Vuh,
Idris Muhammad,
Unrelated Segments,
Khruangbin,
John Holt,
Janne Schatter,
Television,
The Neon Judgement,
Adolescents,
Leonard Cohen,
Alton Ellis,
Larry & the Blue Notes,
Amon Düül,
X-102,
Blossom Toes,
The Victims,
The Vogues, The Vogues, The Vogues, The Vogues.
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.