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 the UAE and from Tokyo.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Manchester and Copenhagen.
I'm losing my edge to the art-school Lyon 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 organ sounds with much patience.
I was there when Captain Beefheart 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 ABBA 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 Pharoah Sanders. All the underground hits.
All Talk Talk tracks. I heard you have a vinyl of every Sällskapet 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 '80s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Electric Light Orchestra record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
Bauhaus,
Country Teasers,
Cheater Slicks,
The Five Americans,
Camron Feat. Memphis Bleek And Beenie Seigel,
H. Thieme,
Skaos,
Television,
Fear,
Kerri Chandler,
AZ,
Ronan,
the Human League,
The Raincoats,
48th St. Collective,
Peter and Kerry,
Steve Hackett,
Max Romeo,
Q65,
Pantaleimon,
Absolute Body Control,
Al Stewart,
Gary Puckett & The Union Gap,
Toni Rubio,
Oneida,
The Last Poets,
Dead Boys,
Mary Jane Girls,
Unrelated Segments,
Harmonia,
Bronski Beat,
Y Pants,
Lafayette Afro Rock Band,
Minnie Riperton,
Ituana,
Roxette,
Bobbi Humphrey,
Gil Scott-Heron & Brian Jackson,
New Age Steppers,
Motorama,
The Human League,
Bush Tetras,
Wire,
Oppenheimer Analysis,
Maleditus Sound,
The Pretty Things,
The Angels of Light,
Alison Limerick,
Avey Tare's Slasher Flicks,
Scrapy,
Quantec,
Hoover,
Marvin Gaye,
James Chance & The Contortions,
The Stooges,
Orchestral Manoeuvres in the Dark,
The Mummies,
Roger Hodgson,
Agitation Free,
The Music Machine,
Audionom,
Saccharine Trust, Saccharine Trust, Saccharine Trust, Saccharine Trust.
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.