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 Kyrgyzstan and from Hong Kong.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Jakarta.
I'm losing my edge to the art-school Delhi 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 Lou Reed 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 Khruangbin to the techno kids.
I played it at the Crocodile.
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 Alarm Clocks tracks. I heard you have a vinyl of every Vaughan Mason & Crew record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Yaz record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anakelly,
Erasure,
Malaria!,
The Index,
The Wake,
The Residents,
Warsaw,
Anthony Braxton,
Rekid,
The Chocolate Watch Band,
Livin' Joy,
Delta 5,
Bootsy Collins,
Grauzone,
Lightning Bolt,
The Victims,
the Sonics,
a-ha,
Ice-T,
The Grass Roots,
Fluxion,
The Standells,
Lee Hazlewood,
Wally Richardson,
Lower 48,
London Community Gospel Choir,
Marmalade,
Deadbeat,
New York Dolls,
Boogie Down Productions,
Groovy Waters,
Terry Callier,
The Royal Family And The Poor,
Amon Düül II,
Nation of Ulysses,
Jeru the Damaja,
Black Sheep,
the Human League,
The Knickerbockers,
Red Lorry Yellow Lorry,
DeepChord presents Echospace,
Reuben Wilson,
Blossom Toes,
The Neon Judgement,
The Young Rascals,
Barry Ungar,
Bobby Sherman,
Flipper,
Neu!,
Roxy Music,
Gastr Del Sol,
Manfred Mann's Earth Band,
Nils Olav,
Banda Bassotti,
Mo-Dettes,
The Golliwogs,
Little Man,
MC5,
DNA,
Section 25,
Scratch Acid,
The Skatalites, The Skatalites, The Skatalites, The Skatalites.
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.