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 Kuwait and from Winnipeg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Milan and Hong Kong.
I'm losing my edge to the art-school Mexico City 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 Robert Palmer 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 Albert Ayler 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 Blancmange. All the underground hits.
All Lower 48 tracks. I heard you have a vinyl of every The Alarm Clocks 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 '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Eddi Front record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Junior Murvin,
James White and The Blacks,
X-102,
Gregory Isaacs,
La Düsseldorf,
Soft Cell,
Ken Boothe,
Louis and Bebe Barron,
Amon Düül,
Jesper Dahlbäck,
Kayak,
Ajijia Myrayebe,
The Toasters,
Johnny Osbourne,
Kool G Rap & DJ Polo,
Crime,
Hot Snakes,
Charles Mingus,
a-ha,
Mandrill,
Marmalade,
Lou Christie,
Angels of Light & Akron/Family,
The Monochrome Set,
Warren Ellis,
The Standells,
Terror Squad Feat. Camron,
Chrome,
Scratch Acid,
The Doobie Brothers,
Visionaries,LMNO, T- Love & Iriscience,
Siglo XX,
Von Mondo,
Bobbi Humphrey,
DNA,
The Monks,
Eve St. Jones,
Moss Icon,
Al Stewart,
Blossom Toes,
Bill Near,
Ponytail,
Ultra Naté,
Ultravox,
Quando Quango,
The Fugs,
Swans,
Silicon Teens,
Crash Course in Science,
The Saints,
The Smiths,
Teenage Jesus and the Jerks,
Oppenheimer Analysis,
Kerri Chandler,
New Age Steppers,
The Tremeloes,
Juan Atkins,
Howard Jones,
Sticky Fingaz feat. Raekwon,
Glambeats Corp.,
the Germs,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.