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 Liechtenstein and from Manchester.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Shanghai.
I'm losing my edge to the art-school Calgary 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the oboe 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 Harmonia to the techno 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 the Slits. All the underground hits.
All Cal Tjader tracks. I heard you have a vinyl of every Arab on Radar record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a London Community Gospel Choir record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vladislav Delay,
F. McDonald,
The Kinks,
Sonny Sharrock,
Alphaville,
Guru Guru,
Sex Pistols,
Johnny Osbourne,
Kerrie Biddell,
Gong,
Ultramagnetic MC's,
Kool Moe Dee,
Wasted Youth,
Wighnomy Brothers & Robag Wruhme,
Young Marble Giants,
D'Angelo,
Bob Dylan,
Erasure,
Bronski Beat,
Bizarre Inc.,
Michelle Simonal,
Boredoms,
Mad Mike,
Gil Scott-Heron and Jamie xx,
Ajijia Myrayebe,
Gabor Szabo,
The Standells,
Tommy Roe,
The Count Five,
Bang on a Can All-Stars,
Captain Beefheart & His Magic Band,
Bootsy's Rubber Band,
The Stooges,
Lindisfarne,
Johnny Clarke,
Lou Reed & John Cale,
Rotary Connection,
Red Lorry Yellow Lorry,
Frankie Knuckles,
Kevin Saunderson,
K-Klass,
Model 500,
David Bowie,
The Busters,
Tears for Fears,
China Crisis,
Glenn Branca,
Soft Machine,
The Detroit Cobras,
Essential Logic,
Freddie Wadling,
Pharoah Sanders,
The Gun Club,
Connie Case,
Judy Mowatt,
Television Personalities,
AZ,
Cameo,
Al Stewart,
Barry Ungar,
Nirvana,
Q65,
Dark Day,
Fad Gadget,
Yaz, Yaz, Yaz, Yaz.
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.