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 Montenegro and from London.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Jakarta and Paris.
I'm losing my edge to the art-school Manchester 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 the Human League to the funk 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 Excepter. All the underground hits.
All 48th St. Collective tracks. I heard you have a vinyl of every Faraquet record on German import.
I heard that you have a white label of every seminal rap 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 mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Nils Olav record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Absolute Body Control,
Barry Ungar,
The Angels of Light,
Sonny Sharrock,
Massinfluence,
MC5,
Albert Ayler,
Morten Harket,
Rapeman,
Brass Construction,
Ronan,
Pylon,
China Crisis,
Mark Hollis,
Bill Wells,
Visionaries,LMNO, T- Love & Iriscience,
The Martian,
Howard Jones,
Camouflage,
The Cure,
Marc Almond,
Erasure,
Magazine,
Neu!,
Skaos,
Ituana,
The Motions,
The Alarm Clocks,
Crispy Ambulance,
Echo & the Bunnymen,
The Slackers,
Peter Gordon & Love of Life Orchestra,
Kas Product,
Loose Ends,
Lower 48,
Ralphi Rosario,
Sun City Girls,
The Pretty Things,
World's Most,
Scrapy,
Rosa Yemen,
Gerry Rafferty,
Crime,
Technova,
Pantytec,
Selector Dub Narcotic,
Masters at Work,
Desert Stars,
Avey Tare & Kría Brekkan,
Aswad,
EPMD,
The Black Dice,
The Fall,
10cc,
PIL,
Tom Boy,
The United States of America,
Electric Prunes,
Roy Ayers Ubiquity,
Toni Rubio,
The Barracudas,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
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.