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 San Marino and from Columbus.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1962 to 1970.
I'm losing my edge.
To all the kids in Milan and Spokane.
I'm losing my edge to the art-school Toronto 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 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 Circle Jerks to the jazz kids.
I played it at the Troubador.
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 Charles Mingus. All the underground hits.
All Section 25 tracks. I heard you have a vinyl of every Crooked Eye 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 '60s cut and another box set from the '90s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Gastr Del Sol record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flamin' Groovies,
The Raincoats,
Marshall Jefferson,
Lizzy Mercier Descloux,
UT,
Reuben Wilson,
Loose Ends,
ABC,
The Peanut Butter Conspiracy,
Nick Fraelich,
Throbbing Gristle,
Josef K,
Vainqueur,
Derrick Morgan,
Livin' Joy,
Sam Rivers,
Sugar Minott,
Tommy Roe,
Ten City,
Inner City,
Sexual Harrassment,
Pantaleimon,
Stockholm Monsters,
Al Stewart,
Barclay James Harvest,
Tropical Tobacco,
R.M.O.,
La Düsseldorf,
Siouxsie and the Banshees,
June of 44,
Peter and Kerry,
Letta Mbulu,
Peter Gordon & Love of Life Orchestra,
The Tremeloes,
Wolf Eyes,
Hot Snakes,
Lightning Bolt,
Panda Bear,
Pole,
Roger Hodgson,
Thinking Fellers Union Local 282,
Au Pairs,
EPMD,
Steve Hackett,
Lonnie Liston Smith,
The Cosmic Jokers,
The Blackbyrds,
Marc Almond,
Infiniti,
Blake Baxter,
Orchestral Manoeuvres in the Dark,
Chris Corsano,
Archie Shepp,
Harry Pussy,
Traffic Nightmare,
The Happenings,
Cheater Slicks,
Scott Walker,
T.S.O.L.,
F. McDonald,
Lalo Schifrin,
Motorama, Motorama, Motorama, Motorama.
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.