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 Oman and from Seoul.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1975.
I'm losing my edge.
To all the kids in New York and Calgary.
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 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 Pharaoh Sanders and the Fire Engines to the dance kids.
I played it at the Hacienda.
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 Whodini. All the underground hits.
All Idris Muhammad tracks. I heard you have a vinyl of every Popol Vuh 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 '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marmalade,
Loose Ends,
Ornette Coleman,
Nation of Ulysses,
Whodini,
Crooked Eye,
Rekid,
the Swans,
Y Pants,
Agent Orange,
Lee Hazlewood,
Skarface,
Arab on Radar,
Siouxsie and the Banshees,
Angry Samoans,
X-102,
Radiohead,
Pierre Henry,
Deutsch Amerikanische Freundschaft,
H. Thieme,
Hasil Adkins,
Easy Going,
Archie Shepp,
Sun Ra,
Terrestrial Tones,
Jeff Mills,
Boz Scaggs,
B.T. Express,
Dave Gahan,
The Doors,
Minnie Riperton,
Pagans,
Audionom,
Quadrant,
Oblivians,
Mantronix,
Robert Görl,
Essential Logic,
Throbbing Gristle,
The West Coast Pop Art Experimental Band,
Tropical Tobacco,
Lou Reed & Metallica,
Arcadia,
James Chance & The Contortions,
Sugar Minott,
Young Marble Giants,
The Jesus and Mary Chain,
The Peanut Butter Conspiracy,
Dead Boys,
Suburban Knight,
Susan Cadogan,
The United States of America,
Lou Christie,
The J.B.'s,
Jeru the Damaja,
Goldenarms,
Harpers Bizarre,
Flash Fearless,
Black Pus,
Country Teasers,
Theoretical Girls, Theoretical Girls, Theoretical Girls, Theoretical Girls.
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.