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 France and from Shanghai.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Madrid and Columbus.
I'm losing my edge to the art-school Cairo 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 1976 at the first Chic practice in a loft in New York.
I was working on the harpsichord 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 Unrelated Segments to the punk 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 Leaves. All the underground hits.
All Major Organ And The Adding Machine tracks. I heard you have a vinyl of every Scientists record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a theremin 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 harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris Corsano,
Strawberry Alarm Clock,
Main Source,
Lou Reed,
Radiohead,
The Evens,
New Order,
Shuggie Otis,
Big Daddy Kane,
Roxy Music,
Faust,
Ten City,
H. Thieme,
Pylon,
Sixth Finger,
The Fugs,
Anakelly,
Scrapy,
Flamin' Groovies,
La Düsseldorf,
Harpers Bizarre,
Model 500,
It's A Beautiful Day,
The Leaves,
Eric Copeland,
Isaac Hayes,
The Jesus and Mary Chain,
Joensuu 1685,
Soft Cell,
Notorious Big And Bone Thugs,
Q and Not U,
Gang Starr,
Peter & Gordon,
Lucky Dragons,
Newcleus,
Gil Scott-Heron and Jamie xx,
Clear Light,
Absolute Body Control,
Röyhkä ja Rättö ja Lehtisalo,
Roy Ayers Ubiquity,
FM Einheit,
the Swans,
Todd Rundgren,
Thee Headcoats,
The Moody Blues,
Lonnie Liston Smith,
Lalo Schifrin,
Qualms,
Blake Baxter,
Sandy B,
Lou Reed & Metallica,
Davy DMX,
Yellowson,
Trumans Water,
Deakin,
Justin Hinds & The Dominoes,
The Vogues,
Cecil Taylor,
Jimmy McGriff,
Joy Division,
Kerrie Biddell,
Althea and Donna,
Moby Grape, Moby Grape, Moby Grape, Moby Grape.
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.