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 Greece and from Cairo.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1974.
I'm losing my edge.
To all the kids in Paris and Winnipeg.
I'm losing my edge to the art-school Jakarta 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 synthesizer sounds with much patience.
I was there when Holger Czukay 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 Organ to the grunge kids.
I played it at the Troubador.
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 Section 25. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every The Gap Band record on German import.
I heard that you have a white label of every seminal disco 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 a synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Kinks record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crispian St. Peters,
Tim Buckley,
The Associates,
the Normal,
Dorothy Ashby,
Yellowson,
The Peanut Butter Conspiracy,
X-Ray Spex,
Rosa Yemen,
DJ Style,
Sight & Sound,
Ponytail,
Amon Düül II,
Lalo Schifrin,
Davy DMX,
Bill Near,
The Golliwogs,
Motorama,
The Cowsills,
The Move,
The Standells,
The Shadows of Knight,
Hashim,
Gang Starr,
Fort Wilson Riot,
Crooked Eye,
The Buckinghams,
John Coltrane,
Suburban Knight,
Lightning Bolt,
Soft Machine,
Bobbi Humphrey,
B.T. Express,
Kool Moe Dee,
Skaos,
Lindisfarne,
Janne Schatter,
Fear,
The Techniques,
Skarface,
Aural Exciters,
Arthur Verocai,
The Neon Judgement,
The Young Rascals,
Half Japanese,
the Soft Cell,
Danielle Patucci,
John Holt,
Rod Modell,
The Toasters,
Stetsasonic,
Selector Dub Narcotic,
Sam Rivers,
Godley & Creme,
Throbbing Gristle,
Ajijia Myrayebe,
Siglo XX,
Kerrie Biddell,
Radio Birdman,
Strawberry Alarm Clock,
Don Cherry,
Peter Gordon & Love of Life Orchestra,
The Real Kids,
Can, Can, Can, Can.
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.