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 Guinea-Bissau and from Stockholm.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Lyon and Tokyo.
I'm losing my edge to the art-school Taipei 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 rhodes sounds with much patience.
I was there when Nile Rodgers 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 Minny Pops to the punk kids.
I played it at the Spitz.
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 Matthew Halsall. All the underground hits.
All Lee Hazlewood tracks. I heard you have a vinyl of every Hasil Adkins 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 '90s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
Dennis Brown,
Alice Coltrane,
Stereo Dub,
Mo-Dettes,
DeepChord presents Echospace,
10cc,
Depeche Mode,
The Zeros,
Eve St. Jones,
Red Lorry Yellow Lorry,
CMW,
Dual Sessions,
Siouxsie and the Banshees,
Rotary Connection,
The West Coast Pop Art Experimental Band,
Moebius,
Dr. Dre and Snoop Doggy Dog,
The Move,
Aural Exciters,
Gil Scott-Heron & Brian Jackson,
Pere Ubu,
Althea and Donna,
Pharoah Sanders,
Fela Kuti,
Tom Boy,
Peter & Gordon,
Amon Düül II,
The Blackbyrds,
Scan 7,
Eric B and Rakim,
L. Decosne,
These Immortal Souls,
Soul II Soul,
Young Marble Giants,
Con Funk Shun,
ABBA,
Dark Day,
Jacques Brel,
Kool Moe Dee,
Vladislav Delay,
Cameo,
DJ Style,
Ralphi Rosario,
New Order,
Main Source,
Henry Cow,
The Men They Couldn't Hang,
Boz Scaggs,
The Count Five,
The New Christs,
Hashim,
The Smoke,
Andrew Hill,
Motorama,
Matthew Halsall,
Chris Corsano,
Gong,
Hot Snakes,
UT,
Notorious BIG live in Amsterdam,
Peter Gordon & Love of Life Orchestra,
Lower 48,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.