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 Chile and from Toronto.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Columbus.
I'm losing my edge to the art-school London 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the mellotron 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 World's Most to the jazz 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 Chrome. All the underground hits.
All Urselle tracks. I heard you have a vinyl of every Khruangbin record on German import.
I heard that you have a white label of every seminal crunk 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 mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Piero Umiliani record.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maleditus Sound,
Half Japanese,
the Bar-Kays,
Model 500,
Spoonie Gee,
Ajijia Myrayebe,
Moebius,
Rowland S Howard / Lydia Lunch,
Pantaleimon,
Public Image Ltd.,
Pharoah Sanders,
Los Fastidios,
Ponytail,
The Fall,
The Cowsills,
Super Lover Cee & Casanova Rud,
Andrew Hill,
The American Breed,
Rufus Thomas,
Saccharine Trust,
The Walker Brothers,
Joensuu 1685,
Jerry Gold Smith,
X-Ray Spex,
The Music Machine,
Notorious Big And Bone Thugs,
Flamin' Groovies,
Smog,
Pussy Galore,
Major Organ And The Adding Machine,
Gil Scott-Heron and Jamie xx,
Albert Ayler,
kango's stein massive,
Jesper Dahlbäck,
Gary Puckett & The Union Gap,
Underground Resistance,
E-Dancer,
Cabaret Voltaire,
Mad Mike,
Bobby Sherman,
Gichy Dan,
Fluxion,
Ten City,
Negative Approach,
the Fania All-Stars,
Mantronix,
The Count Five,
Duran Duran,
Aloha Tigers,
Section 25,
Jerry's Kids,
Rahsaan Roland Kirk,
Audionom,
Rakim,
Soul Sonic Force,
The Selecter,
Joe Smooth,
Zapp,
Angels of Light & Akron/Family,
The West Coast Pop Art Experimental Band,
Nation of Ulysses,
Aswad, Aswad, Aswad, Aswad.
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.