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 Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Taipei and Philadelphia.
I'm losing my edge to the art-school Lyon 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 organ 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 Davy DMX to the crunk kids.
I played it at CBGB's.
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 Young Rascals. All the underground hits.
All Saccharine Trust tracks. I heard you have a vinyl of every Kango’s Stein Massive 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 '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your marimba and bought a theremin.
I hear that you and your band have sold your theremin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
It's A Beautiful Day,
Avey Tare's Slasher Flicks,
Camberwell Now,
John Holt,
Skarface,
Porter Ricks,
Buzzcocks,
The Fire Engines,
Bronski Beat,
Intrusion,
Roxette,
Pantytec,
R.M.O.,
The Sound,
Albert Ayler,
Ronan,
The Searchers,
The Mojo Men,
Danielle Patucci,
T. Rex,
Outsiders,
Scion,
Graham Central Station,
Morten Harket,
Ultramagnetic MC's,
Joy Division,
Rowland S Howard / Lydia Lunch,
Radio Birdman,
Nils Olav,
kango's stein massive,
E-Dancer,
Popol Vuh,
Brand Nubian,
The Divine Comedy,
Fifty Foot Hose,
Mr. Review,
The Music Machine,
Brick,
Wolf Eyes,
Country Joe & The Fish,
MDC,
Cabaret Voltaire,
L. Decosne,
The Associates,
Alice Coltrane,
Girls At Our Best!,
Notorious Big And Bone Thugs,
Section 25,
F. McDonald,
Au Pairs,
Orchestral Manoeuvres in the Dark,
Ken Boothe,
Maurizio,
The Victims,
Pagans,
The West Coast Pop Art Experimental Band,
Lou Reed & Metallica,
David McCallum,
The Flesh Eaters,
Richard Hell and the Voidoids,
Peter & Gordon,
Sex Pistols,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.