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 Jamaica and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1970.
I'm losing my edge.
To all the kids in Jakarta and Houston.
I'm losing my edge to the art-school Philadelphia 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 spring reverb 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 Rufus Thomas to the jazz 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 Yellowson. All the underground hits.
All Massinfluence tracks. I heard you have a vinyl of every Howard Jones record on German import.
I heard that you have a white label of every seminal funk 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 a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band 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?
Minny Pops,
Johnny Osbourne,
The Tremeloes,
Aloha Tigers,
The Fugs,
Dark Day,
Sunsets and Hearts,
Thee Headcoats,
Kaleidoscope,
Crispian St. Peters,
Boz Scaggs,
Darondo,
Sad Lovers and Giants,
Gang Green,
Sam Rivers,
Nation of Ulysses,
Mission of Burma,
Mark Hollis,
Hardrive,
Schoolly D,
The Toasters,
Steve Hackett,
The Remains,
Rahsaan Roland Kirk,
In Retrospect,
Brass Construction,
Jacob Miller,
Whodini,
The Electric Prunes,
B.T. Express,
Magazine,
Gil Scott-Heron and Jamie xx,
Warsaw,
Frankie Knuckles,
Gang of Four,
Loose Ends,
Reuben Wilson,
Albert Ayler,
Wolf Eyes,
Oppenheimer Analysis,
Ossler,
D'Angelo,
Angry Samoans,
De La Soul & Jungle Brothers,
Sällskapet,
Kayak,
Mandrill,
Patti Smith,
Eric Dolphy,
The New Christs,
The Fire Engines,
New Order,
Nico,
Depeche Mode,
Goldenarms,
Babytalk,
Glambeats Corp.,
Agitation Free,
Saccharine Trust,
The Kinks,
the Soft Cell,
Scott Walker + Sunn O))),
Yazoo, Yazoo, Yazoo, Yazoo.
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.