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 New Zealand and from Lille.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1965 to 1970.
I'm losing my edge.
To all the kids in Glasgow and London.
I'm losing my edge to the art-school Paris 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 organ 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 The Music Machine to the funk kids.
I played it at the Astoria.
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 X-102. All the underground hits.
All Oppenheimer Analysis tracks. I heard you have a vinyl of every 8 Eyed Spy 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 '90s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Wasted Youth record.
I hear that you and your band have sold your organ and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Electric Prunes,
Morten Harket,
Jacques Brel,
London Community Gospel Choir,
Scientists,
Gil Scott-Heron and Jamie xx,
Notorious Big And Bone Thugs,
Toni Rubio,
Michelle Simonal,
Monolake,
Youth Brigade,
Patti Smith,
Selector Dub Narcotic,
Stetsasonic,
ABBA,
Roger Hodgson,
FM Einheit,
Dawn Penn,
the Slits,
Siouxsie and the Banshees,
Amon Düül II,
Rowland S Howard / Lydia Lunch,
Hashim,
Unwound,
Arab on Radar,
Technova,
Ludus,
Avey Tare's Slasher Flicks,
The Mighty Diamonds,
Black Pus,
Desert Stars,
Gary Puckett & The Union Gap,
Louis and Bebe Barron,
The West Coast Pop Art Experimental Band,
Trumans Water,
Boredoms,
Arthur Verocai,
Au Pairs,
Eden Ahbez,
Richard Hell and the Voidoids,
Panda Bear,
Grandmaster Flash,
Ice-T,
World's Most,
These Immortal Souls,
The Pretty Things,
Tim Buckley,
The Gories,
Radio Birdman,
Graham Central Station,
Yazoo,
Avey Tare & Kría Brekkan,
Dorothy Ashby,
A Certain Ratio,
Massinfluence,
Loose Ends,
Don Cherry,
Brick,
Sixth Finger,
Robert Wyatt,
The Remains, The Remains, The Remains, The Remains.
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.