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 Bahamas and from Johannesburg.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Copenhagen.
I'm losing my edge to the art-school Milan 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 1984 at the first Arcadia practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Model 500 to the grime kids.
I played it at the Crocodile.
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 The Gladiators. All the underground hits.
All Bush Tetras tracks. I heard you have a vinyl of every Cameo 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 linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Gary Puckett & The Union Gap record.
I hear that you and your band have sold your marimba and bought an oboe.
I hear that you and your band have sold your oboe and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Birthday Party,
Kenny Larkin,
Ronan,
Ultra Naté,
Bootsy's Rubber Band,
Amon Düül,
Throbbing Gristle,
Sandy B,
Lucky Dragons,
Ossler,
The Offenders,
Radiopuhelimet,
Rhythm & Sound,
The Smiths,
Electric Prunes,
Gil Scott Heron,
Wally Richardson,
Derrick Morgan,
Barry Ungar,
Eyeless In Gaza,
The Cosmic Jokers,
Sixth Finger,
Marcia Griffiths,
Joyce Sims,
Liaisons Dangereuses,
UT,
Sun Ra,
Qualms,
The Happenings,
The Fire Engines,
Popol Vuh,
Little Man,
Chrome,
AZ,
Maurizio,
Scientists,
Oppenheimer Analysis,
Pussy Galore,
Althea and Donna,
Swell Maps,
Sonny Sharrock,
Minny Pops,
Crash Course in Science,
Sonic Youth,
Barbara Tucker,
Bobby Hutcherson,
Zero Boys,
Eric Copeland,
Fear,
Camron Feat. Memphis Bleek And Beenie Seigel,
Andrew Ashong & Theo Parrish,
The West Coast Pop Art Experimental Band,
The Five Americans,
Janne Schatter,
The Star Department,
Rahsaan Roland Kirk,
James White and The Blacks,
Yellowson,
Rites of Spring,
Scott Walker,
The New Christs,
Henry Cow,
Ken Boothe, Ken Boothe, Ken Boothe, Ken Boothe.
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.