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 East Timor and from Seoul.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Woodstock and Bologna.
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 mellotron 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 Rites of Spring to the electroclash kids.
I played it at the Roxy.
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 Sticky Fingaz feat. Raekwon. All the underground hits.
All Monolake tracks. I heard you have a vinyl of every Marcia Griffiths record on German import.
I heard that you have a white label of every seminal funk 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 rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Malaria! record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers Ubiquity,
Peter and Kerry,
Rowland S Howard / Lydia Lunch,
UT,
Piero Umiliani,
Lyres,
Blancmange,
Robert Wyatt,
Al Stewart,
Fluxion,
Anakelly,
The Smoke,
A Flock of Seagulls,
Model 500,
Alphaville,
The Index,
Morten Harket,
The Modern Lovers,
The Cowsills,
The American Breed,
Brand Nubian,
Eric B and Rakim,
Silicon Teens,
Juan Atkins,
Roxy Music,
The Dirtbombs,
Niagra,
Pierre Henry,
the Fania All-Stars,
June Days,
Spandau Ballet,
the Bar-Kays,
Connie Case,
It's A Beautiful Day,
Robert Görl,
Delon & Dalcan,
The Raincoats,
Sight & Sound,
The Fuzztones,
Pole,
Trumans Water,
Soul II Soul,
Audionom,
Matthew Bourne,
Popol Vuh,
Rites of Spring,
The Durutti Column,
Echo & the Bunnymen,
Visionaries,LMNO, T- Love & Iriscience,
The Detroit Cobras,
Rapeman,
Thee Headcoats,
Deepchord,
AZ,
The Associates,
Aswad,
Bang on a Can All-Stars,
The Last Poets,
Faraquet,
Lou Reed & John Cale,
The Invisible,
Fatback Band,
Bobby Sherman, Bobby Sherman, Bobby Sherman, Bobby Sherman.
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.