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 Zimbabwe and from Lille.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Spokane and Toronto.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the organ 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 Procol Harum to the electroclash kids.
I played it at Cafe Wha.
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 Ludus. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every Nas 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 '70s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Beasts of Bourbon record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Sherman,
Kerri Chandler,
Sun Ra Arkestra,
Sparks,
Bobbi Humphrey,
Chrome,
The Seeds,
Oneida,
Quando Quango,
Manfred Mann's Earth Band,
Spandau Ballet,
Crime,
Siouxsie and the Banshees,
Parry Music,
Groovy Waters,
Country Joe & The Fish,
Newcleus,
Maleditus Sound,
These Immortal Souls,
Rekid,
Royal Trux,
The Buckinghams,
Faraquet,
Flash Fearless,
Yellowson,
Gichy Dan,
The Vogues,
Matthew Bourne,
David McCallum,
Adolescents,
Cal Tjader,
Kenny Larkin,
Saccharine Trust,
Jeru the Damaja,
Audionom,
Eric Dolphy,
Derrick Morgan,
Blake Baxter,
Unrelated Segments,
Mark Hollis,
Jerry Gold Smith,
Jesper Dahlbäck,
Pete Rock & C.L. Smooth,
Guru Guru,
Aural Exciters,
Sex Pistols,
Junior Murvin,
Tomorrow,
Minor Threat,
Crispy Ambulance,
Half Japanese,
Sixth Finger,
Rosa Yemen,
Camron Feat. Memphis Bleek And Beenie Seigel,
Wasted Youth,
Pole,
Warren Ellis,
Deadbeat,
Deakin,
Skaos,
The Walker Brothers,
Joe Smooth,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.