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 Mauritania and from Spokane.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1978.
I'm losing my edge.
To all the kids in Jakarta and Mexico City.
I'm losing my edge to the art-school Glasgow 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 Donald Fagen 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 Byron Stingily to the jazz kids.
I played it at the Hacienda.
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 Chris & Cosey. All the underground hits.
All Boredoms tracks. I heard you have a vinyl of every JFA 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 '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Chrome,
The Alarm Clocks,
Nico,
The Buckinghams,
H. Thieme,
Grey Daturas,
The Five Americans,
Infiniti,
Sad Lovers and Giants,
Bobbi Humphrey,
Robert Görl,
Ken Boothe,
Sex Pistols,
Mark Hollis,
Loose Ends,
Flash Fearless,
Bill Wells,
Dual Sessions,
Intrusion,
Alison Limerick,
Heavy D & The Boyz,
Gang of Four,
Avey Tare's Slasher Flicks,
Deadbeat,
Jimmy McGriff,
K-Klass,
Ronnie Foster,
Erasure,
Youth Brigade,
Dave Gahan,
Symarip,
Popol Vuh,
John Coltrane,
Eric Copeland,
Electric Light Orchestra,
Blossom Toes,
La Düsseldorf,
Oneida,
Cabaret Voltaire,
The Invisible,
Zapp,
Yusef Lateef,
Bill Near,
Donald Byrd,
John Cale,
Kool G Rap & DJ Polo,
The Zeros,
Robert Wyatt,
Guru Guru,
Terry Callier,
Nirvana,
Visage,
Jacques Brel,
The Standells,
Pulsallama,
Soft Cell,
Nas,
Bobby Byrd,
Bizarre Inc.,
Pet Shop Boys,
Marine Girls, Marine Girls, Marine Girls, Marine Girls.
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.