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 Mauritius and from Bologna.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Houston and Delhi.
I'm losing my edge to the art-school Accra 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the arpeggiator 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 Techniques to the rock kids.
I played it at the Hacienda.
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 Wings. All the underground hits.
All Teenage Jesus and the Jerks tracks. I heard you have a vinyl of every Bobby Hutcherson record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Soulsonic Force record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
Liliput,
The Shadows of Knight,
Eve St. Jones,
Franke,
Nirvana,
Ultimate Spinach,
Alison Limerick,
Livin' Joy,
the Normal,
The Human League,
Ken Boothe,
The Men They Couldn't Hang,
Flipper,
The Chocolate Watch Band,
Lizzy Mercier Descloux,
Schoolly D,
The Beau Brummels,
Symarip,
Lou Reed,
Delta 5,
Kool G Rap & DJ Polo,
Jeff Mills,
Neil Young & Crazy Horse,
Judy Mowatt,
Oppenheimer Analysis,
Ten City,
Röyhkä ja Rättö ja Lehtisalo,
Iggy Pop,
Electric Light Orchestra,
Heavy D & The Boyz,
Alice Coltrane,
Wire,
Peter and Kerry,
Bootsy Collins,
Ludus,
Rakim,
Aural Exciters,
Ajijia Myrayebe,
The United States of America,
Man Eating Sloth,
Rowland S Howard / Lydia Lunch,
Marine Girls,
The New Christs,
Nation of Ulysses,
Boogie Down Productions,
Quadrant,
Delon & Dalcan,
Quantec,
Pagans,
Gabor Szabo,
MDC,
Goldenarms,
Minny Pops,
Rhythim Is Rhythim,
Gerry Rafferty,
Andrew Hill,
Spandau Ballet,
Howard Jones,
Ponytail,
Ronnie Foster, Ronnie Foster, Ronnie Foster, Ronnie Foster.
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.