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 Moldova and from Stockholm.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1979.
I'm losing my edge.
To all the kids in Copenhagen and New York.
I'm losing my edge to the art-school Woodstock 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 Television Personalities to the dance kids.
I played it at the Roxy.
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 Swell Maps. All the underground hits.
All Wally Richardson tracks. I heard you have a vinyl of every The Dirtbombs record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Zapp record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sixth Finger,
The Raincoats,
Sad Lovers and Giants,
Scott Walker,
Soul II Soul,
Royal Trux,
CMW,
Tres Demented,
Anthony Braxton,
Siglo XX,
Nas,
The Standells,
Grauzone,
Joy Division,
Ash Ra Tempel,
Sun Ra Arkestra,
Carl Craig,
OOIOO,
The Neon Judgement,
Dark Day,
The Durutti Column,
Oppenheimer Analysis,
Pylon,
Underground Resistance,
Joey Negro,
Hot Snakes,
A Flock of Seagulls,
Godley & Creme,
Cymande,
Neil Young,
Barbara Tucker,
Khruangbin,
Lee Hazlewood,
The Fall,
The Names,
Urselle,
In Retrospect,
Al Stewart,
The Invisible,
Cal Tjader,
David Axelrod,
Kenny Larkin,
T. Rex,
Susan Cadogan,
Can,
Larry & the Blue Notes,
Charles Mingus,
Stetsasonic,
Rufus Thomas,
The Dirtbombs,
Tubeway Army,
Maurizio,
Wally Richardson,
The Pop Group,
Swans,
Faust,
the Association,
Howard Jones,
Eve St. Jones,
Y Pants, Y Pants, Y Pants, Y Pants.
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.