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 San Marino and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Copenhagen.
I'm losing my edge to the art-school Shanghai 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the harpsichord sounds with much patience.
I was there when Tom Verlaine 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 June Days to the grunge 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 Idris Muhammad. All the underground hits.
All The Blues Magoos tracks. I heard you have a vinyl of every the Human League 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 '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your linndrum and bought a guitar.
I hear that you and your band have sold your guitar and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yazoo,
Siglo XX,
Camberwell Now,
Moby Grape,
The Birthday Party,
Frankie Knuckles,
Young Marble Giants,
Lonnie Liston Smith,
The Index,
The Music Machine,
Shuggie Otis,
Bobby Hutcherson,
Nik Kershaw,
Tubeway Army,
Nas,
Donny Hathaway,
The Star Department,
The Gap Band,
The Doobie Brothers,
Au Pairs,
Röyhkä ja Rättö ja Lehtisalo,
Con Funk Shun,
The Names,
Interpol,
Rod Modell,
Jesper Dahlbäck,
Eve St. Jones,
Procol Harum,
Jimmy McGriff,
ABC,
The Fortunes,
Roger Hodgson,
Drexciya,
Khruangbin,
Pete Rock & C.L. Smooth,
Brick,
Funky Four + One,
Jeff Mills,
Panda Bear,
Ultimate Spinach,
The Selecter,
The Gun Club,
Beasts of Bourbon,
Don Cherry,
The Walker Brothers,
Spoonie Gee,
Robert Wyatt,
The Mummies,
Lebanon Hanover,
Archie Shepp,
Cybotron,
Orchestral Manoeuvres in the Dark,
Richard Hell and the Voidoids,
Kaleidoscope,
Negative Approach,
Jeff Lynne,
Bootsy's Rubber Band,
Mad Mike,
Babytalk,
Teenage Jesus and the Jerks,
Adolescents, Adolescents, Adolescents, Adolescents.
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.