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 Latvia and from Johannesburg.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Bologna and Paris.
I'm losing my edge to the art-school Salvador 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 linndrum sounds with much patience.
I was there when Holger Czukay 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 Pharaoh Sanders and the Fire Engines to the electroclash 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 The Moody Blues. All the underground hits.
All Mission of Burma tracks. I heard you have a vinyl of every Byron Stingily record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Ice-T 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?
Al Stewart,
The J.B.'s,
These Immortal Souls,
Kango’s Stein Massive,
Chris & Cosey,
The Birthday Party,
Röyhkä ja Rättö ja Lehtisalo,
The Smoke,
Clear Light,
Ultra Naté,
Second Layer,
Eric B and Rakim,
Pete Rock & C.L. Smooth,
Art Ensemble Of Chicago,
Lightning Bolt,
Visionaries,LMNO, T- Love & Iriscience,
Interpol,
Procol Harum,
The Sound,
Skaos,
Amon Düül II,
Chrome,
the Soft Cell,
Amazonics,
Idris Muhammad,
Zero Boys,
Rod Modell,
Jacob Miller,
Brick,
X-102,
Cybotron,
the Sonics,
Charles Mingus,
Donny Hathaway,
Aaron Thompson,
Inner City,
The Victims,
Faraquet,
Shuggie Otis,
Jeff Mills,
Absolute Body Control,
Davy DMX,
Bobby Sherman,
Derrick Morgan,
Arthur Verocai,
Derrick May,
Rites of Spring,
DJ Sneak,
Joyce Sims,
The Human League,
London Community Gospel Choir,
Radiohead,
The Invisible,
Wolf Eyes,
10cc,
Prince Buster,
Rufus Thomas,
The Moleskins,
Bauhaus,
Max Romeo,
Quando Quango,
Echo & the Bunnymen,
Yellowson, Yellowson, Yellowson, Yellowson.
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.