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 Czech Republic and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Lille and Tehran.
I'm losing my edge to the art-school Halifax 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 Gil Scott-Heron & Brian Jackson to the rap 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 Althea and Donna. All the underground hits.
All a-ha tracks. I heard you have a vinyl of every Ornette Coleman record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Grey Daturas 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?
Underground Resistance,
The Fire Engines,
Country Teasers,
Scott Walker + Sunn O))),
Kings Of Tomorrow,
The Last Poets,
Cecil Taylor,
The Men They Couldn't Hang,
Pet Shop Boys,
Lebanon Hanover,
The Count Five,
Drexciya,
Blancmange,
Radiopuhelimet,
Eddi Front,
The Music Machine,
Bluetip,
Pharaoh Sanders and the Fire Engines,
Organ,
Lou Reed,
Freddie Wadling,
Lyres,
Cymande,
Pantaleimon,
The Star Department,
EPMD,
The Names,
Super Lover Cee & Casanova Rud,
Trumans Water,
James Chance & The Contortions,
The Birthday Party,
Neil Young,
Pierre Henry,
Bill Wells,
Wighnomy Brothers & Robag Wruhme,
Vainqueur,
Lafayette Afro Rock Band,
The Fortunes,
Kenny Larkin,
Yusef Lateef,
Technova,
New Age Steppers,
Ludus,
Traffic Nightmare,
Babytalk,
Amazonics,
Jesper Dahlbäck,
X-102,
It's A Beautiful Day,
Gil Scott-Heron and Jamie xx,
The Monks,
Erasure,
Spandau Ballet,
Ken Boothe,
Bang On A Can,
Skarface,
Donny Hathaway,
Loose Ends,
Joy Division,
Negative Approach,
Monks,
Lalann,
Moss Icon,
The Index, The Index, The Index, The Index.
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.