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 Mexico and from Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Jakarta and Tokyo.
I'm losing my edge to the art-school Seoul 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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 Cosmic Jokers to the rock 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 The Shadows of Knight. All the underground hits.
All Sister Nancy tracks. I heard you have a vinyl of every Avey Tare 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 '60s cut and another box set from the '80s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faust,
Procol Harum,
Average White Band,
Marmalade,
Kas Product,
Parry Music,
Excepter,
Mars,
Sly & The Family Stone,
Pantaleimon,
48th St. Collective,
Siouxsie and the Banshees,
The Angels of Light,
Cecil Taylor,
Sister Nancy,
Icehouse,
Mad Mike,
Lonnie Liston Smith,
Moebius,
The Index,
The West Coast Pop Art Experimental Band,
Patti Smith,
Moby Grape,
Rowland S Howard / Lydia Lunch,
X-102,
Bobby Womack,
Scratch Acid,
The Shadows of Knight,
The Young Rascals,
Dual Sessions,
Johnny Osbourne,
The Residents,
Art Ensemble Of Chicago,
Kool G Rap & DJ Polo,
Interpol,
Groovy Waters,
Agitation Free,
Cameo,
Soulsonic Force,
Sandy B,
James Chance & The Contortions,
Joey Negro,
FM Einheit,
Thompson Twins,
the Fania All-Stars,
Jimmy McGriff,
Model 500,
The Invisible,
Wings,
Nils Olav,
Pharoah Sanders,
the Human League,
Sonny Sharrock,
Marc Romboy vs. Booka Shade,
Ajijia Myrayebe,
John Cale,
Theoretical Girls,
Make Up,
Teenage Jesus and the Jerks,
The Dave Clark Five,
Matthew Halsall,
The Zeros,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.