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 Switzerland and from Glasgow.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1970.
I'm losing my edge.
To all the kids in Portland and Mexico City.
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 mellotron 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 Fortunes to the rap kids.
I played it at Cafe Wha.
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 Roger Hodgson. All the underground hits.
All Thompson Twins tracks. I heard you have a vinyl of every David Axelrod 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 '60s cut and another box set from the '80s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Pussy Galore record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
Model 500,
Oppenheimer Analysis,
The Pretty Things,
Barclay James Harvest,
Althea and Donna,
Warsaw,
Joe Finger,
Basic Channel,
R.M.O.,
Minor Threat,
The American Breed,
Cybotron,
Alphaville,
Eve St. Jones,
The Cure,
Bluetip,
World's Most,
Masters at Work,
Panda Bear,
Dead Boys,
Scratch Acid,
X-101,
The Blues Magoos,
Ultimate Spinach,
Cameo,
Bad Manners,
Sandy B,
Ornette Coleman,
The Chocolate Watch Band,
Anthony Braxton,
Soulsonic Force,
The Beau Brummels,
The Moleskins,
Charles Mingus,
Radiohead,
Albert Ayler,
Camouflage,
Electric Prunes,
Gary Puckett & The Union Gap,
Faraquet,
The Fire Engines,
Black Moon,
Jeff Lynne,
Excepter,
Marc Romboy vs. Booka Shade,
Pete Rock & C.L. Smooth,
Minnie Riperton,
Glambeats Corp.,
Jeff Mills,
Hasil Adkins,
Delta 5,
Nick Fraelich,
Scott Walker + Sunn O))),
Half Japanese,
Oneida,
Gang Gang Dance,
The Evens,
Nas,
Fifty Foot Hose,
Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz.
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.