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 Romania and from Mumbai.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Lille and Beijing.
I'm losing my edge to the art-school Milan 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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 Crispian St. Peters to the techno kids.
I played it at the Crocodile.
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 Modern Lovers. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every Absolute Body Control record on German import.
I heard that you have a white label of every seminal electroclash 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 theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantytec,
Los Fastidios,
June of 44,
Funkadelic,
The Move,
Derrick Morgan,
Tom Boy,
The West Coast Pop Art Experimental Band,
Model 500,
Colin Newman,
Scan 7,
The Fortunes,
EPMD,
Henry Cow,
Joe Finger,
The Chocolate Watch Band,
Ludus,
Yellowson,
The Mummies,
The Angels of Light,
Loose Ends,
Section 25,
Ajijia Myrayebe,
John Cale,
The Music Machine,
Boz Scaggs,
Inner City,
Kings Of Tomorrow,
Lou Reed & Metallica,
L. Decosne,
Scott Walker,
Harpers Bizarre,
Gil Scott-Heron and Jamie xx,
Young Marble Giants,
Amon Düül,
Max Romeo,
Scion,
Mr. Review,
Rites of Spring,
Sunsets and Hearts,
The Martian,
the Human League,
Bronski Beat,
Junior Murvin,
Sly & The Family Stone,
Moby Grape,
Nick Cave & The Bad Seeds,
The Tremeloes,
Television,
Liliput,
R.M.O.,
Darondo,
Sixth Finger,
Red Lorry Yellow Lorry,
Country Teasers,
Sandy B,
The Gap Band,
Scientists,
Deepchord,
Art Ensemble Of Chicago,
Infiniti,
The United States of America,
David Bowie,
Jacob Miller, Jacob Miller, Jacob Miller, Jacob Miller.
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.