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 Croatia and from Madrid.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Lille and Tehran.
I'm losing my edge to the art-school Manila 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the arpeggiator sounds with much patience.
I was there when David Bowie 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 Grauzone to the dance kids.
I played it at Trash.
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 Anakelly. All the underground hits.
All Prince Buster 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 crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Talk Talk record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
Orchestral Manoeuvres in the Dark,
Barbara Tucker,
In Retrospect,
Marcia Griffiths,
Robert Wyatt,
Smog,
X-Ray Spex,
Alison Limerick,
Q65,
Max Romeo,
Marmalade,
Scientists,
Bauhaus,
Derrick May,
The Martian,
London Community Gospel Choir,
Sexual Harrassment,
Organ,
Anthony Braxton,
Jacob Miller,
Bobby Byrd,
Moebius,
Electric Prunes,
Funky Four + One,
Sugar Minott,
Nirvana,
Moss Icon,
The Star Department,
The Busters,
Subhumans,
Soft Cell,
Richard Hell and the Voidoids,
Black Pus,
Unrelated Segments,
Theoretical Girls,
Major Organ And The Adding Machine,
Sparks,
Peter & Gordon,
The Searchers,
Magma,
Shuggie Otis,
Spoonie Gee,
Masters at Work,
Das Ding,
Television Personalities,
Flash Fearless,
Groovy Waters,
Bizarre Inc.,
Bootsy's Rubber Band,
Aswad,
Lyres,
Donny Hathaway,
Peter Gordon & Love of Life Orchestra,
Terry Callier,
Interpol,
The Gories,
Stockholm Monsters,
Ituana,
L. Decosne,
10cc,
Camberwell Now, Camberwell Now, Camberwell Now, Camberwell Now.
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.