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 Albania and from Calgary.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Seoul and Columbus.
I'm losing my edge to the art-school Taipei 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 oboe sounds with much patience.
I was there when Captain Beefheart 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 Roger Hodgson to the techno kids.
I played it at Cafe Wha.
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 Terror Squad Feat. Camron. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Man Parrish record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer 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?
Eyeless In Gaza,
Q and Not U,
The Golliwogs,
The Wake,
Suburban Knight,
DJ Style,
Surgeon,
Red Lorry Yellow Lorry,
Ultramagnetic MC's,
R.M.O.,
The Star Department,
Popol Vuh,
Man Parrish,
Derrick Morgan,
A Flock of Seagulls,
Siouxsie and the Banshees,
Arab on Radar,
X-101,
The Young Rascals,
Bootsy Collins,
The Barracudas,
The Kinks,
Flipper,
Johnny Osbourne,
Piero Umiliani,
The Techniques,
Jesper Dahlback,
Shoche,
Deepchord,
Boredoms,
Wally Richardson,
Saccharine Trust,
Camberwell Now,
The Jesus and Mary Chain,
The Moody Blues,
Gabor Szabo,
Pharoah Sanders,
Robert Görl,
Crooked Eye,
ABC,
Al Stewart,
Visionaries,LMNO, T- Love & Iriscience,
Slave,
The Mummies,
Public Image Ltd.,
Jeru the Damaja,
Danielle Patucci,
Pierre Henry,
Essential Logic,
Soft Cell,
Orchestral Manoeuvres in the Dark,
Silicon Teens,
Carl Craig,
Gil Scott Heron,
Beasts of Bourbon,
The Shadows of Knight,
Soulsonic Force,
Ash Ra Tempel,
The Happenings,
Talk Talk,
Outsiders,
The Dave Clark Five, The Dave Clark Five, The Dave Clark Five, The Dave Clark Five.
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.