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 Kazakhstan and from Philadelphia.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Columbus and Copenhagen.
I'm losing my edge to the art-school Milan 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the clarinet 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 Fad Gadget to the jazz 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 Electric Prunes. All the underground hits.
All The Golliwogs tracks. I heard you have a vinyl of every Marcia Griffiths record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Skatalites,
Amon Düül II,
Rahsaan Roland Kirk,
the Association,
The Blues Magoos,
The Angels of Light,
Oppenheimer Analysis,
Agent Orange,
The Dirtbombs,
Eyeless In Gaza,
The Saints,
Essential Logic,
Man Eating Sloth,
Donald Byrd,
Fat Boys,
Lou Reed & Metallica,
Mo-Dettes,
the Swans,
DJ Style,
Lou Reed,
Fad Gadget,
Sparks,
Rapeman,
AZ,
Sarah Menescal,
Blossom Toes,
Harry Pussy,
Bang On A Can,
Cecil Taylor,
Röyhkä ja Rättö ja Lehtisalo,
Robert Hood,
The Five Americans,
Electric Light Orchestra,
London Community Gospel Choir,
Monolake,
the Germs,
Yaz,
Freddie Wadling,
Sly & The Family Stone,
Sällskapet,
Arcadia,
Q and Not U,
Niagra,
kango's stein massive,
Boogie Down Productions,
Subhumans,
Roger Hodgson,
The Seeds,
James White and The Blacks,
Television Personalities,
Boredoms,
Tommy Roe,
Masters at Work,
John Holt,
Isaac Hayes,
T. Rex,
Eve St. Jones,
New York Dolls,
Supertramp,
The Cramps,
The Young Rascals,
L. Decosne,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.