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 East Timor and from Bremen.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Mumbai and Toronto.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the mellotron 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 Peter & Gordon to the jazz kids.
I played it at the 40 Watt.
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 Smoke. All the underground hits.
All Major Organ And The Adding Machine tracks. I heard you have a vinyl of every The Busters record on German import.
I heard that you have a white label of every seminal rock 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 mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a UT record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slits,
Manfred Mann's Earth Band,
Richard Hell and the Voidoids,
The Cowsills,
Can,
The Star Department,
Nirvana,
Bush Tetras,
Idris Muhammad,
Theoretical Girls,
Essential Logic,
The Moleskins,
Dr. Dre and Snoop Doggy Dog,
The Move,
The Smoke,
Suicide,
Ossler,
Negative Approach,
Fugazi,
The Sound,
Sun Ra Arkestra,
Piero Umiliani,
Clear Light,
Throbbing Gristle,
Camron Feat. Memphis Bleek And Beenie Seigel,
Johnny Osbourne,
Donny Hathaway,
Gabor Szabo,
Lucky Dragons,
Red Lorry Yellow Lorry,
The Doobie Brothers,
Eric Dolphy,
Infiniti,
Accadde A,
Von Mondo,
Notorious BIG live in Amsterdam,
Howard Jones,
The Remains,
Bobbi Humphrey,
Mo-Dettes,
Johnny Clarke,
Rekid,
The Real Kids,
The Moody Blues,
Frankie Knuckles,
Gichy Dan,
Arthur Verocai,
Harpers Bizarre,
Roxy Music,
The Men They Couldn't Hang,
Ultra Naté,
Warsaw,
Cameo,
48th St. Collective,
Radiopuhelimet,
Mark Hollis,
Michelle Simonal,
David Axelrod,
Rahsaan Roland Kirk,
Rhythim Is Rhythim,
Godley & Creme,
Susan Cadogan,
Bobby Hutcherson,
Liliput,
The Durutti Column, The Durutti Column, The Durutti Column, The Durutti Column.
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.