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 Chad and from Milan.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Manchester and Tokyo.
I'm losing my edge to the art-school Winnipeg 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the theremin sounds with much patience.
I was there when Lou Reed 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 Japan to the grime 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 K-Klass. All the underground hits.
All Deakin 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 grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Robert Wyatt record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
Don Cherry,
Girls At Our Best!,
Jeru the Damaja,
Drexciya,
Scion,
The Standells,
Selector Dub Narcotic,
Interpol,
Ultra Naté,
Notorious Big And Bone Thugs,
John Foxx,
Sound Behaviour,
The Motions,
Roxette,
Roger Hodgson,
Piero Umiliani,
World's Most,
Avey Tare,
The Grass Roots,
Juan Atkins,
Justin Hinds & The Dominoes,
Rekid,
Ice-T,
Gong,
Sun Ra,
Spandau Ballet,
The Jesus and Mary Chain,
Boogie Down Productions,
Tim Buckley,
Black Bananas,
The Buckinghams,
Fifty Foot Hose,
Echo & the Bunnymen,
Television,
Susan Cadogan,
Charles Mingus,
Curtis Mayfield,
Robert Görl,
Fad Gadget,
Depeche Mode,
Model 500,
Lou Reed,
Khruangbin,
Joe Smooth,
Rosa Yemen,
Nick Cave & The Bad Seeds,
Livin' Joy,
Mars,
Bush Tetras,
The Fugs,
Red Lorry Yellow Lorry,
Panda Bear,
Steve Hackett,
Masters at Work,
Can,
Donald Byrd,
Country Teasers,
Wasted Youth,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.