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 Yemen and from Manchester.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1978.
I'm losing my edge.
To all the kids in Portland and Tehran.
I'm losing my edge to the art-school Seoul 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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 Matthew Bourne to the grime 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 Black Bananas. All the underground hits.
All Beasts of Bourbon tracks. I heard you have a vinyl of every Maurizio 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 '90s.
I hear you're buying an oboe and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Symarip record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eden Ahbez,
Donny Hathaway,
Reuben Wilson,
The Monochrome Set,
Minutemen,
The Standells,
OOIOO,
The Mojo Men,
The Leaves,
Funkadelic,
The Chocolate Watch Band,
Metal Thangz,
Ultra Naté,
Electric Prunes,
Main Source,
Visage,
The Gories,
Red Lorry Yellow Lorry,
The Durutti Column,
Danielle Patucci,
Tom Boy,
Harry Pussy,
Ituana,
Laurel Aitken,
Supertramp,
Yazoo,
Mad Mike,
R.M.O.,
Traffic Nightmare,
Charles Mingus,
Carl Craig,
the Sonics,
Pantytec,
Yaz,
10cc,
Derrick Morgan,
Anakelly,
World's Most,
The Red Krayola,
Fatback Band,
Shuggie Otis,
The Gap Band,
KRS-One,
Babytalk,
the Bar-Kays,
Johnny Osbourne,
Subhumans,
Andrew Hill,
Lungfish,
Interpol,
Pete Rock & C.L. Smooth,
Pantaleimon,
The Black Dice,
Sonic Youth,
Alton Ellis,
Sixth Finger,
The Velvet Underground,
The Blues Magoos,
Major Organ And The Adding Machine,
Second Layer,
Ohio Players,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.