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 Japan and from Taipei.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Stockholm and Lille.
I'm losing my edge to the art-school Lagos 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 mellotron sounds with much patience.
I was there when David Bowie 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 Electric Light Orchestra to the punk kids.
I played it at the Astoria.
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 Notorious Big And Bone Thugs. All the underground hits.
All The Gories tracks. I heard you have a vinyl of every Mr. Review 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 guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Sad Lovers and Giants record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Carl Craig,
Monolake,
The Real Kids,
The Residents,
The Fall,
Pussy Galore,
Brass Construction,
The Remains,
Pere Ubu,
X-101,
Rosa Yemen,
Henry Cow,
Eve St. Jones,
Newcleus,
Suicide,
Delon & Dalcan,
Lower 48,
Zapp,
Mark Hollis,
Albert Ayler,
The Toasters,
Brick,
Gang Gang Dance,
Art Ensemble Of Chicago,
Teenage Jesus and the Jerks,
Hot Snakes,
The Vogues,
Gang Starr,
Funky Four + One,
Scrapy,
A Flock of Seagulls,
the Soft Cell,
Glambeats Corp.,
ABC,
Prince Buster,
Colin Newman,
Notorious Big And Bone Thugs,
a-ha,
The Leaves,
Althea and Donna,
Pierre Henry,
The Golliwogs,
Jeff Mills,
Lou Reed & John Cale,
Suburban Knight,
Scratch Acid,
The Walker Brothers,
Unrelated Segments,
Chris Corsano,
Jeff Lynne,
Ronnie Foster,
Vainqueur,
Interpol,
Avey Tare's Slasher Flicks,
Andrew Ashong & Theo Parrish,
Pantytec,
Stereo Dub,
Television Personalities,
Black Sheep,
Moby Grape,
Visionaries,LMNO, T- Love & Iriscience, Visionaries,LMNO, T- Love & Iriscience, Visionaries,LMNO, T- Love & Iriscience, Visionaries,LMNO, T- Love & Iriscience.
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.