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 Vietnam and from Columbus.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Delhi and Shanghai.
I'm losing my edge to the art-school Copenhagen 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the linndrum sounds with much patience.
I was there when Michael McDonald 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 John Coltrane to the techno kids.
I played it at the Crocodile.
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 Chrome. All the underground hits.
All Alice Coltrane tracks. I heard you have a vinyl of every Alice Coltrane 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 '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Inner City record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marmalade,
Interpol,
Deadbeat,
Fatback Band,
Von Mondo,
Sixth Finger,
Radio Birdman,
Livin' Joy,
Leonard Cohen,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Music Machine,
The Mummies,
This Heat,
Sarah Menescal,
The Alarm Clocks,
T.S.O.L.,
Cluster,
Easy Going,
Kas Product,
Matthew Bourne,
Harpers Bizarre,
Eurythmics,
Mars,
London Community Gospel Choir,
The Gories,
Motorama,
Johnny Clarke,
Sexual Harrassment,
Funky Four + One,
Sam Rivers,
Maleditus Sound,
Terrestrial Tones,
Echo & the Bunnymen,
Nik Kershaw,
The Blues Magoos,
Sly & The Family Stone,
Cameo,
Thee Headcoats,
Arab on Radar,
The Barracudas,
Joe Finger,
Essential Logic,
Country Teasers,
The Stooges,
Ken Boothe,
The Angels of Light,
Colin Newman,
D'Angelo,
Mark Hollis,
Clear Light,
The Fire Engines,
Con Funk Shun,
the Normal,
The Remains,
Infiniti,
Gian Franco Pienzio,
Max Romeo,
Siouxsie and the Banshees,
Quantec,
Patti Smith,
Accadde A,
UT,
a-ha,
Pharoah Sanders, Pharoah Sanders, Pharoah Sanders, Pharoah Sanders.
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.