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 Kenya and from Stockholm.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Edmonton.
I'm losing my edge to the art-school Calgary 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 oboe 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 Urselle to the punk kids.
I played it at the Astoria.
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 Brand Nubian. All the underground hits.
All Oblivians tracks. I heard you have a vinyl of every Joe Smooth record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Junior Murvin record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Colin Newman,
Minnie Riperton,
Wasted Youth,
The Invisible,
London Community Gospel Choir,
Fad Gadget,
Whodini,
Tim Buckley,
Camouflage,
The Tremeloes,
Radiohead,
Black Moon,
The Five Americans,
Bush Tetras,
Anthony Braxton,
Yazoo,
Schoolly D,
JFA,
ABC,
Warren Ellis,
Yellowson,
Selector Dub Narcotic,
Dark Day,
Aural Exciters,
Peter and Kerry,
Brothers Johnson,
Matthew Halsall,
Sparks,
Television,
Metal Thangz,
Althea and Donna,
Suburban Knight,
Babytalk,
Von Mondo,
Barrington Levy,
Harmonia,
Moby Grape,
Sandy B,
World's Most,
Laurel Aitken,
Jerry's Kids,
Magazine,
Depeche Mode,
Aaron Thompson,
Popol Vuh,
The West Coast Pop Art Experimental Band,
Hardrive,
Pharoah Sanders,
Dual Sessions,
Monks,
Mission of Burma,
L. Decosne,
Roger Hodgson,
ABBA,
Terry Callier,
Vladislav Delay,
Duran Duran,
Shuggie Otis,
Bootsy's Rubber Band,
Tears for Fears,
Marcia Griffiths,
Minny Pops,
Terrestrial Tones,
Sexual Harrassment, Sexual Harrassment, Sexual Harrassment, Sexual Harrassment.
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.