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 Bangladesh and from Sao Paulo.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Shanghai.
I'm losing my edge to the art-school Shanghai 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 1976 at the first Chic practice in a loft in New York.
I was working on the harpsichord 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 The Dave Clark Five to the punk kids.
I played it at the 40 Watt.
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 Amon Düül II. All the underground hits.
All Vaughan Mason & Crew tracks. I heard you have a vinyl of every Jawbox 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 '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Durutti Column,
Country Joe & The Fish,
Byron Stingily,
The Five Americans,
Circle Jerks,
Bootsy's Rubber Band,
Tim Buckley,
Saccharine Trust,
T. Rex,
The Names,
Pantaleimon,
The Jesus and Mary Chain,
Magazine,
Parry Music,
Todd Rundgren,
Vaughan Mason & Crew,
Slave,
Kevin Saunderson,
Sonny Sharrock,
Gil Scott-Heron and Jamie xx,
Sound Behaviour,
Yusef Lateef,
The Monks,
Visage,
Aural Exciters,
Juan Atkins,
Deakin,
June of 44,
The Misunderstood,
Hoover,
Captain Beefheart & His Magic Band,
Soulsonic Force,
Matthew Halsall,
Amon Düül,
Half Japanese,
Boz Scaggs,
Aloha Tigers,
Arthur Verocai,
Brick,
Average White Band,
James White and The Blacks,
Lyres,
Nils Olav,
Peter and Kerry,
Junior Murvin,
Roy Ayers Ubiquity,
Camouflage,
Pharaoh Sanders and the Fire Engines,
Laurel Aitken,
Royal Trux,
Schoolly D,
Wolf Eyes,
Con Funk Shun,
New York Dolls,
Chris & Cosey,
AZ,
Sight & Sound,
David McCallum,
Agitation Free,
Eric Copeland,
Depeche Mode,
LL Cool J, LL Cool J, LL Cool J, LL Cool J.
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.