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 South Africa and from Mexico City.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1975.
I'm losing my edge.
To all the kids in Madrid and Stockholm.
I'm losing my edge to the art-school Beijing 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 1978 at the first Visage practice in a loft in London.
I was working on the organ 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 Liaisons Dangereuses to the jazz 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 Cabaret Voltaire. All the underground hits.
All Rahsaan Roland Kirk tracks. I heard you have a vinyl of every The Birthday Party 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 '80s cut and another box set from the '80s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
Skarface,
The Dave Clark Five,
Pharaoh Sanders and the Fire Engines,
Sällskapet,
Kevin Saunderson,
The Neon Judgement,
Piero Umiliani,
Von Mondo,
Roy Ayers Ubiquity,
The Buckinghams,
The Men They Couldn't Hang,
Parry Music,
In Retrospect,
Khruangbin,
Dawn Penn,
June of 44,
Sticky Fingaz feat. Raekwon,
Gang Green,
Supertramp,
Barclay James Harvest,
Super Lover Cee & Casanova Rud,
Skriet,
Funky Four + One,
Hasil Adkins,
Kerrie Biddell,
Alison Limerick,
Jimmy McGriff,
Gil Scott-Heron & Brian Jackson,
Bootsy's Rubber Band,
Ponytail,
Babytalk,
The Gap Band,
Soft Machine,
Camron Feat. Jay Z And Juelz,
Isaac Hayes,
Marvin Gaye,
The American Breed,
Livin' Joy,
Rowland S Howard / Lydia Lunch,
One Last Wish,
Lebanon Hanover,
Japan,
The Fire Engines,
Youth Brigade,
Lalann,
The Detroit Cobras,
Soft Cell,
Davy DMX,
Marmalade,
Metal Thangz,
Wolf Eyes,
Bizarre Inc.,
a-ha,
Ajijia Myrayebe,
Whodini,
Accadde A,
Pharoah Sanders,
Con Funk Shun,
The Durutti Column,
Cameo,
Fifty Foot Hose,
Lou Christie,
John Coltrane, John Coltrane, John Coltrane, John Coltrane.
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.