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 St Lucia and from Tehran.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Johannesburg.
I'm losing my edge to the art-school Stockholm 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 sitar 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 Rosa Yemen to the punk kids.
I played it at the Roxy.
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 New Order. All the underground hits.
All Vladislav Delay tracks. I heard you have a vinyl of every Deakin 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 marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Sonics record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alton Ellis,
Barbara Tucker,
Rotary Connection,
Tomorrow,
New Age Steppers,
The Sisters of Mercy,
Joey Negro,
Gabor Szabo,
Ornette Coleman,
Moby Grape,
Visage,
Radio Birdman,
Harry Pussy,
Shoche,
EPMD,
The Electric Prunes,
Peter and Kerry,
June Days,
The Men They Couldn't Hang,
The Seeds,
Lee Hazlewood,
Theoretical Girls,
Slave,
Rekid,
Public Image Ltd.,
Q and Not U,
48th St. Collective,
Pierre Henry,
The Monochrome Set,
Gong,
Matthew Halsall,
H. Thieme,
Vladislav Delay,
Scratch Acid,
Gichy Dan,
The New Christs,
UT,
Gregory Isaacs,
Alice Coltrane,
KRS-One,
Brothers Johnson,
The Standells,
Steve Hackett,
The Music Machine,
Dark Day,
Crime,
Ten City,
Heaven 17,
Gil Scott-Heron & Brian Jackson,
the Slits,
Scan 7,
The Cowsills,
David Bowie,
Monolake,
It's A Beautiful Day,
Echospace,
Cluster,
Avey Tare & Kría Brekkan,
New Order,
Loose Ends,
Agent Orange,
Letta Mbulu,
The Move, The Move, The Move, The Move.
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.