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 Kazakhstan and from Tokyo.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Tokyo and Madrid.
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 rhodes sounds with much patience.
I was there when Holger Czukay 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 Masters at Work to the jazz 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 Max Romeo. All the underground hits.
All It's A Beautiful Day tracks. I heard you have a vinyl of every Flipper record on German import.
I heard that you have a white label of every seminal grunge 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 a rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Black Moon record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neil Young & Crazy Horse,
Pussy Galore,
Gil Scott-Heron & Brian Jackson,
Dark Day,
Laurel Aitken,
Morten Harket,
Fugazi,
Bootsy's Rubber Band,
Sällskapet,
The Sound,
Traffic Nightmare,
Derrick Morgan,
Wolf Eyes,
Crash Course in Science,
Marc Romboy vs. Booka Shade,
Fear,
The United States of America,
Moby Grape,
Bad Manners,
Alton Ellis,
A Certain Ratio,
Rapeman,
Chris Corsano,
Camberwell Now,
Pharoah Sanders,
Ralphi Rosario,
New Age Steppers,
Kayak,
Eric Copeland,
The Gladiators,
The Neon Judgement,
Albert Ayler,
Roy Ayers,
Lalo Schifrin,
Massinfluence,
Buzzcocks,
Eve St. Jones,
Grey Daturas,
Lyres,
Mary Jane Girls,
Jimmy McGriff,
Skaos,
Curtis Mayfield,
Zero Boys,
Sugar Minott,
Cecil Taylor,
Monolake,
Fifty Foot Hose,
The Sonics,
Gil Scott-Heron and Jamie xx,
Aaron Thompson,
Kings Of Tomorrow,
World's Most,
Delon & Dalcan,
Can,
Mr. Review,
Andrew Ashong & Theo Parrish,
Marvin Gaye,
Neil Young,
Erasure,
Liaisons Dangereuses,
Rhythm & Sound,
The Martian, The Martian, The Martian, The Martian.
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.