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 Belgium and from Philadelphia.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1973.
I'm losing my edge.
To all the kids in Manchester and Halifax.
I'm losing my edge to the art-school Houston 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 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 Goldenarms to the grunge kids.
I played it at Cafe Wha.
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 Marvin Gaye. All the underground hits.
All Quantec tracks. I heard you have a vinyl of every The Neon Judgement record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Pretty Things record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Star Department,
the Normal,
The Detroit Cobras,
Gastr Del Sol,
The Monks,
Little Man,
OOIOO,
Althea and Donna,
Robert Wyatt,
Dawn Penn,
Andrew Hill,
The West Coast Pop Art Experimental Band,
New Age Steppers,
Joyce Sims,
Sister Nancy,
Half Japanese,
Roxy Music,
Interpol,
Camron Feat. Memphis Bleek And Beenie Seigel,
Bill Wells,
London Community Gospel Choir,
Monolake,
Depeche Mode,
A Certain Ratio,
Sandy B,
The Fuzztones,
The Pop Group,
Toni Rubio,
The Blackbyrds,
Bad Manners,
Brothers Johnson,
The Moleskins,
Girls At Our Best!,
The Real Kids,
Stereo Dub,
Leonard Cohen,
Marvin Gaye,
Barry Ungar,
the Germs,
Joey Negro,
Johnny Osbourne,
UT,
Skarface,
Hashim,
Marc Almond,
Red Lorry Yellow Lorry,
Lungfish,
Los Fastidios,
Blancmange,
The Last Poets,
Second Layer,
Aaron Thompson,
The Trojans,
Major Organ And The Adding Machine,
Goldenarms,
Kerri Chandler,
Can,
Grauzone,
Byron Stingily,
Oblivians,
Ultra Naté,
The Names, The Names, The Names, The Names.
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.