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 Jordan and from Tokyo.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Madrid.
I'm losing my edge to the art-school Winnipeg 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the theremin sounds with much patience.
I was there when David Bowie 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 Rhythm & Sound to the grime 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 Ash Ra Tempel. All the underground hits.
All Ultravox tracks. I heard you have a vinyl of every The Star Department record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Gong record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bluetip,
Neu!,
Country Teasers,
Sun Ra Arkestra,
Minny Pops,
Joy Division,
Donald Byrd,
Cecil Taylor,
Archie Shepp,
Terrestrial Tones,
The Offenders,
Ossler,
Rekid,
London Community Gospel Choir,
Bootsy's Rubber Band,
Agitation Free,
Danielle Patucci,
Bizarre Inc.,
FM Einheit,
Major Organ And The Adding Machine,
Index,
Drexciya,
Pierre Henry,
Reagan Youth,
The Wake,
Bang on a Can All-Stars,
Eurythmics,
Bronski Beat,
Technova,
Royal Trux,
Icehouse,
Funky Four + One,
Albert Ayler,
Maleditus Sound,
Jeff Lynne,
Sixth Finger,
Gregory Isaacs,
Agent Orange,
Surgeon,
MC5,
Ronnie Foster,
The Moody Blues,
Absolute Body Control,
Jeru the Damaja,
Grauzone,
Bill Near,
Stereo Dub,
Lyres,
Scientists,
Tropical Tobacco,
Robert Görl,
Curtis Mayfield,
Mandrill,
Red Lorry Yellow Lorry,
Mad Mike,
Black Sheep,
Accadde A,
The Men They Couldn't Hang,
The Alarm Clocks,
La Düsseldorf,
Brothers Johnson,
Chris Corsano,
Lakeside,
Robert Wyatt, Robert Wyatt, Robert Wyatt, Robert Wyatt.
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.