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 Montenegro and from Columbus.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Edmonton and Halifax.
I'm losing my edge to the art-school Mumbai 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 mellotron sounds with much patience.
I was there when Nile Rodgers 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 Neil Young & Crazy Horse 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 Dark Day. All the underground hits.
All Boz Scaggs tracks. I heard you have a vinyl of every Eyeless In Gaza record on German import.
I heard that you have a white label of every seminal rock 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 mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Bobbi Humphrey record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blancmange,
Camouflage,
Susan Cadogan,
Eurythmics,
Ice-T,
Cecil Taylor,
Parry Music,
E-Dancer,
Mars,
Kurtis Blow,
Matthew Bourne,
Bootsy's Rubber Band,
Donald Byrd,
Tom Boy,
Icehouse,
Interpol,
Man Parrish,
Brick,
Maurizio,
The Slits,
Yaz,
D'Angelo,
Loose Ends,
Gary Puckett & The Union Gap,
Kayak,
Scan 7,
Unwound,
Sound Behaviour,
Q and Not U,
Nils Olav,
Morten Harket,
Kaleidoscope,
Deutsch Amerikanische Freundschaft,
Joe Smooth,
L. Decosne,
Wings,
Marvin Gaye,
Popol Vuh,
Gil Scott-Heron & Brian Jackson,
Rapeman,
Rhythm & Sound,
Cabaret Voltaire,
Pete Rock & C.L. Smooth,
Kenny Larkin,
Harry Pussy,
The Count Five,
Boredoms,
The Motions,
Deakin,
Thompson Twins,
the Swans,
Be Bop Deluxe,
A Certain Ratio,
Duran Duran,
Guru Guru,
Echo & the Bunnymen,
the Bar-Kays,
Robert Wyatt,
Sonic Youth, Sonic Youth, Sonic Youth, Sonic Youth.
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.