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 Switzerland and from Accra.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1967 to 1971.
I'm losing my edge.
To all the kids in Taipei and Winnipeg.
I'm losing my edge to the art-school Bologna 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 organ sounds with much patience.
I was there when Captain Beefheart 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 Electric Light Orchestra to the rock 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 Idris Muhammad. All the underground hits.
All The Cosmic Jokers tracks. I heard you have a vinyl of every Simply Red record on German import.
I heard that you have a white label of every seminal funk 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 an oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MDC,
Kerrie Biddell,
Peter & Gordon,
Bobby Sherman,
Bill Near,
Jerry's Kids,
The Gun Club,
Big Daddy Kane,
Hot Snakes,
Blake Baxter,
Groovy Waters,
Rod Modell,
Ornette Coleman,
The Offenders,
DNA,
The Stooges,
Steve Hackett,
Hoover,
Severed Heads,
Röyhkä ja Rättö ja Lehtisalo,
Anthony Braxton,
Alton Ellis,
The Dead C,
Das Ding,
The Real Kids,
Dual Sessions,
Pagans,
Justin Hinds & The Dominoes,
Boredoms,
Jeff Lynne,
X-Ray Spex,
Rosa Yemen,
Boz Scaggs,
Rahsaan Roland Kirk,
Agitation Free,
Toni Rubio,
KRS-One,
Minnie Riperton,
Slave,
Terry Callier,
Absolute Body Control,
Mantronix,
Black Sheep,
Junior Murvin,
Fat Boys,
Jacques Brel,
The Martian,
Andrew Hill,
the Germs,
Robert Görl,
Bill Wells,
Negative Approach,
Unwound,
Nirvana,
cv313,
Eddi Front,
Ajijia Myrayebe,
Zero Boys,
Strawberry Alarm Clock,
The Cowsills,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.