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 Greece and from Beijing.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Houston and Salvador.
I'm losing my edge to the art-school Calgary 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 sitar 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 Strawberry Alarm Clock to the techno 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 Main Source. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every Gabor Szabo record on German import.
I heard that you have a white label of every seminal jazz 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 a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Gichy Dan record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slackers,
Ultramagnetic MC's,
The Dave Clark Five,
Severed Heads,
Grauzone,
Thinking Fellers Union Local 282,
Country Teasers,
Beasts of Bourbon,
The Selecter,
Harmonia,
Spoonie Gee,
Tears for Fears,
Liliput,
Slave,
Kenny Larkin,
Gil Scott-Heron & Brian Jackson,
The Residents,
Surgeon,
Boogie Down Productions,
The Monochrome Set,
Gian Franco Pienzio,
Man Eating Sloth,
Howard Jones,
Super Lover Cee & Casanova Rud,
Röyhkä ja Rättö ja Lehtisalo,
Nik Kershaw,
Marc Romboy vs. Booka Shade,
Rahsaan Roland Kirk,
Television,
Ponytail,
Dead Boys,
Orchestral Manoeuvres in the Dark,
Half Japanese,
Aloha Tigers,
cv313,
Lightning Bolt,
Main Source,
The Blackbyrds,
Mandrill,
Subhumans,
Deakin,
The Walker Brothers,
Thee Headcoats,
Amon Düül II,
Scott Walker,
Avey Tare's Slasher Flicks,
The Fall,
Johnny Clarke,
Bad Manners,
Lizzy Mercier Descloux,
Eurythmics,
Jimmy McGriff,
Ituana,
Aswad,
Funky Four + One,
John Holt,
The Dead C,
The Last Poets,
Joyce Sims,
Altered Images,
Minor Threat,
La Düsseldorf, La Düsseldorf, La Düsseldorf, La Düsseldorf.
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.