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 Armenia and from Stockholm.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Mumbai and Mexico City.
I'm losing my edge to the art-school Mexico City 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 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 Lindisfarne to the funk 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 Minnie Riperton. All the underground hits.
All Rites of Spring tracks. I heard you have a vinyl of every Kas Product record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Rod Modell record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kauko Röyhkä ja Narttu,
Yusef Lateef,
Index,
Joyce Sims,
Arthur Verocai,
Pharaoh Sanders and the Fire Engines,
The Fugs,
The Gap Band,
John Coltrane,
Rapeman,
Swans,
One Last Wish,
Nick Fraelich,
Eric Copeland,
Kas Product,
Ken Boothe,
Rakim,
The Neon Judgement,
The Beau Brummels,
The Music Machine,
Notorious BIG live in Amsterdam,
Mr. Review,
T.S.O.L.,
Morten Harket,
Marcia Griffiths,
Barry Ungar,
Pantytec,
Public Image Ltd.,
Grey Daturas,
Sun Ra Arkestra,
John Holt,
Moss Icon,
Symarip,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
A Certain Ratio,
Pierre Henry,
Average White Band,
Tommy Roe,
Flipper,
Brick,
Nation of Ulysses,
The Monochrome Set,
Ponytail,
Steve Hackett,
Magazine,
Big Daddy Kane,
Archie Shepp,
New Age Steppers,
Marc Romboy vs. Booka Shade,
Robert Wyatt,
a-ha,
Oppenheimer Analysis,
The Young Rascals,
Vainqueur,
Minny Pops,
Graham Central Station,
Warsaw,
Black Bananas,
The Zeros,
Robert Görl,
Desert Stars,
the Germs, the Germs, the Germs, the Germs.
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.