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 Grenada and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 Glasgow and Mumbai.
I'm losing my edge to the art-school New York 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 1987 at the first Nirvana practice in a loft in Seattle.
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 Pierre Henry to the funk 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 James Chance & The Contortions. All the underground hits.
All The Smiths tracks. I heard you have a vinyl of every Tears for Fears record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Eden Ahbez record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swell Maps,
Peter & Gordon,
Liaisons Dangereuses,
U.S. Maple,
Animal Collective,
Ultra Naté,
Moebius,
Johnny Clarke,
cv313,
Outsiders,
John Holt,
The Sisters of Mercy,
Brand Nubian,
Marcia Griffiths,
Los Fastidios,
Jerry Gold Smith,
Yazoo,
Lee Hazlewood,
Unrelated Segments,
Marshall Jefferson,
Erykah Badu,
Lalann,
The Fall,
Sällskapet,
Pulsallama,
Pere Ubu,
The American Breed,
Public Enemy,
Art Ensemble Of Chicago,
X-Ray Spex,
Archie Shepp,
Circle Jerks,
The Cowsills,
Ash Ra Tempel,
Minor Threat,
Bill Near,
Skarface,
Sound Behaviour,
Idris Muhammad,
Barbara Tucker,
Electric Light Orchestra,
Lizzy Mercier Descloux,
Camberwell Now,
Red Lorry Yellow Lorry,
Terror Squad Feat. Camron,
The Blues Magoos,
The Walker Brothers,
T.S.O.L.,
Tommy Roe,
Nation of Ulysses,
Dual Sessions,
The Offenders,
Davy DMX,
Camouflage,
The Grass Roots,
Mission of Burma,
Bush Tetras,
Wally Richardson,
Moby Grape,
The Cosmic Jokers,
Henry Cow,
Matthew Halsall,
Ken Boothe, Ken Boothe, Ken Boothe, Ken Boothe.
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.