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 Mozambique and from Accra.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Tokyo and Shanghai.
I'm losing my edge to the art-school Shanghai 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the harpsichord sounds with much patience.
I was there when Tom Verlaine 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 Stockholm Monsters to the crunk kids.
I played it at CBGB's.
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 Brass Construction. All the underground hits.
All The Fugs tracks. I heard you have a vinyl of every Pierre Henry record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Motorama,
Barbara Tucker,
Pulsallama,
Section 25,
Eric Copeland,
Cheater Slicks,
Spoonie Gee,
Severed Heads,
The Beau Brummels,
Sunsets and Hearts,
U.S. Maple,
The Pretty Things,
Mars,
Aaron Thompson,
Niagra,
Make Up,
Arab on Radar,
Minny Pops,
Fatback Band,
Scratch Acid,
Bill Near,
Deutsch Amerikanische Freundschaft,
The United States of America,
Eddi Front,
Whodini,
Ossler,
The Motions,
Rosa Yemen,
Eric Dolphy,
Soul Sonic Force,
The Monochrome Set,
Electric Light Orchestra,
Camberwell Now,
The West Coast Pop Art Experimental Band,
kango's stein massive,
Lalo Schifrin,
Parry Music,
Tubeway Army,
Susan Cadogan,
Electric Prunes,
Avey Tare,
Dawn Penn,
Kurtis Blow,
David Axelrod,
The Cramps,
Kauko Röyhkä ja Narttu,
Todd Rundgren,
June of 44,
AZ,
Dark Day,
The Alarm Clocks,
The Peanut Butter Conspiracy,
The Wake,
Bizarre Inc.,
The Men They Couldn't Hang,
Black Sheep,
Livin' Joy,
Aloha Tigers,
Grauzone,
Charles Mingus,
Cal Tjader, Cal Tjader, Cal Tjader, Cal Tjader.
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.