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 Bulgaria and from Tokyo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1971.
I'm losing my edge.
To all the kids in New York and Houston.
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 synthesizer 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 Tears for Fears to the disco kids.
I played it at the Troubador.
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 Kayak. All the underground hits.
All Michelle Simonal tracks. I heard you have a vinyl of every Art Ensemble Of Chicago record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Main Source,
the Normal,
Hardrive,
Faraquet,
Camberwell Now,
Buzzcocks,
The Slits,
The Dave Clark Five,
Heaven 17,
Brothers Johnson,
The Beau Brummels,
Cecil Taylor,
Pharaoh Sanders and the Fire Engines,
Flash Fearless,
Stereo Dub,
Unrelated Segments,
Scott Walker + Sunn O))),
Bang on a Can All-Stars,
Ronnie Foster,
Ultimate Spinach,
Yusef Lateef,
The Cramps,
The Smiths,
Thee Headcoats,
Eurythmics,
Whodini,
Magma,
Index,
New Age Steppers,
Robert Hood,
Rosa Yemen,
The Associates,
The Gories,
Black Pus,
DNA,
Flipper,
Hasil Adkins,
Pantytec,
the Human League,
Alice Coltrane,
Khruangbin,
Moby Grape,
Aural Exciters,
Crispian St. Peters,
a-ha,
Dual Sessions,
Davy DMX,
Aloha Tigers,
Deakin,
Barry Ungar,
The Happenings,
kango's stein massive,
Rod Modell,
Röyhkä ja Rättö ja Lehtisalo,
Easy Going,
Terry Callier,
Johnny Clarke,
Curtis Mayfield,
Monolake,
Nico,
Talk Talk,
Jeff Mills,
The Zeros, The Zeros, The Zeros, The Zeros.
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.