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 Mali and from Philadelphia.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Winnipeg and Beijing.
I'm losing my edge to the art-school Bremen 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 Buzzcocks practice in a loft in Bolton.
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 Sound to the dance 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 In Retrospect. All the underground hits.
All Rakim tracks. I heard you have a vinyl of every Radio Birdman record on German import.
I heard that you have a white label of every seminal grime 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 güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fall,
The Detroit Cobras,
Angels of Light & Akron/Family,
Black Moon,
X-102,
Lungfish,
Matthew Halsall,
Mo-Dettes,
Jesper Dahlbäck,
Althea and Donna,
Glenn Branca,
Nation of Ulysses,
Fear,
Steve Hackett,
Strawberry Alarm Clock,
Spoonie Gee,
CMW,
Be Bop Deluxe,
The Residents,
8 Eyed Spy,
Todd Rundgren,
Oppenheimer Analysis,
Rowland S Howard / Lydia Lunch,
kango's stein massive,
The Knickerbockers,
Patti Smith,
Lonnie Liston Smith,
It's A Beautiful Day,
David McCallum,
The Buckinghams,
Sixth Finger,
Jacques Brel,
Wings,
Stetsasonic,
Lalo Schifrin,
Khruangbin,
Cal Tjader,
The Sound,
ABC,
Rahsaan Roland Kirk,
Henry Cow,
Art Ensemble Of Chicago,
Scientists,
Cluster,
Duran Duran,
Scott Walker + Sunn O))),
Brand Nubian,
Second Layer,
John Holt,
Eurythmics,
Reuben Wilson,
Spandau Ballet,
Trumans Water,
The Associates,
AZ,
Barbara Tucker,
Charles Mingus,
Ultimate Spinach,
These Immortal Souls,
Rites of Spring,
Avey Tare,
Pharoah Sanders,
Icehouse, Icehouse, Icehouse, Icehouse.
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.