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 Equatorial Guinea and from Houston.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Lyon and Glasgow.
I'm losing my edge to the art-school Glasgow 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 1984 at the first Arcadia practice in a loft in London.
I was working on the harpsichord sounds with much patience.
I was there when Lou Reed 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 Jesper Dahlbäck to the jazz kids.
I played it at the Hacienda.
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 Slits. All the underground hits.
All Moby Grape tracks. I heard you have a vinyl of every Agitation Free record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Electric Prunes record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ash Ra Tempel,
Stiv Bators,
Sunsets and Hearts,
Pharoah Sanders,
Sixth Finger,
Hoover,
Davy DMX,
Barclay James Harvest,
The West Coast Pop Art Experimental Band,
The Techniques,
The Names,
The Sound,
MDC,
N.O.R.E. Featuring Pharrell,
Vainqueur,
Amazonics,
Half Japanese,
ABC,
Jerry Gold Smith,
The Vogues,
The Wake,
Kevin Saunderson,
Vladislav Delay,
Lou Reed,
The Skatalites,
Malaria!,
The Royal Family And The Poor,
Delta 5,
Outsiders,
Donald Byrd,
Marvin Gaye,
The Busters,
Aaron Thompson,
It's A Beautiful Day,
Eve St. Jones,
Das Ding,
Alice Coltrane,
Avey Tare,
Roxette,
The Residents,
Bang on a Can All-Stars,
Kerri Chandler,
Deepchord,
Traffic Nightmare,
Grauzone,
Letta Mbulu,
Jesper Dahlback,
Harpers Bizarre,
Morten Harket,
Sam Rivers,
Ronan,
Sun Ra,
The Blackbyrds,
The Beau Brummels,
Alton Ellis,
Simply Red,
Fela Kuti,
Derrick May, Derrick May, Derrick May, Derrick May.
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.