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 Madagascar and from Lyon.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Paris and Seoul.
I'm losing my edge to the art-school Edmonton 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 1973 at the first Television practice in a loft in New York.
I was working on the mellotron sounds with much patience.
I was there when Donald Fagen 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 Robert Wyatt to the grunge 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 Camberwell Now. All the underground hits.
All Curtis Mayfield tracks. I heard you have a vinyl of every Absolute Body Control record on German import.
I heard that you have a white label of every seminal dance 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 mellotron and are throwing your macbook out the window because you want to make something real. You want to make a A Certain Ratio record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bronski Beat,
Kings Of Tomorrow,
Lizzy Mercier Descloux,
Sister Nancy,
The Beau Brummels,
Deakin,
Magazine,
Electric Prunes,
The Motions,
Masters at Work,
Visage,
the Normal,
Soul II Soul,
The Dirtbombs,
Soft Machine,
Carl Craig,
F. McDonald,
Absolute Body Control,
Throbbing Gristle,
Soulsonic Force,
The Evens,
Eve St. Jones,
Icehouse,
Trumans Water,
Television,
Echospace,
KRS-One,
Agitation Free,
Bob Dylan,
Massinfluence,
Cal Tjader,
John Coltrane,
Qualms,
Isaac Hayes,
Mandrill,
Crispian St. Peters,
Iggy Pop,
Joensuu 1685,
Bill Wells,
Pantaleimon,
The Pop Group,
The Monochrome Set,
Stereo Dub,
Thinking Fellers Union Local 282,
Röyhkä ja Rättö ja Lehtisalo,
Reuben Wilson,
One Last Wish,
Scott Walker,
Arthur Verocai,
The Vogues,
Gregory Isaacs,
Grauzone,
Rowland S Howard / Lydia Lunch,
E-Dancer,
The Leaves,
The Black Dice,
Simply Red,
Leonard Cohen,
Cameo,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
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.