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 Nicaragua and from Lagos.
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 1966 to 1974.
I'm losing my edge.
To all the kids in New York and Tehran.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the linndrum 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 Joe Smooth 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 Stereo Dub. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every Ralphi Rosario 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 '50s cut and another box set from the '70s.
I hear you're buying a rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Al Stewart,
Barrington Levy,
The Dirtbombs,
Harry Pussy,
Banda Bassotti,
Pharaoh Sanders and the Fire Engines,
Piero Umiliani,
Blossom Toes,
Ossler,
Wire,
Camron Feat. Memphis Bleek And Beenie Seigel,
Lou Reed,
Echo & the Bunnymen,
The Human League,
Camouflage,
Nick Cave & The Bad Seeds,
KRS-One,
Wasted Youth,
Moss Icon,
The United States of America,
Electric Light Orchestra,
The Real Kids,
Blancmange,
Orchestral Manoeuvres in the Dark,
Nils Olav,
Tom Boy,
The Raincoats,
FM Einheit,
Scratch Acid,
Sister Nancy,
Fluxion,
the Soft Cell,
Basic Channel,
Gastr Del Sol,
The Moleskins,
Connie Case,
The Mojo Men,
E-Dancer,
Notorious Big And Bone Thugs,
Main Source,
The Men They Couldn't Hang,
48th St. Collective,
Joy Division,
Traffic Nightmare,
Heaven 17,
James Chance & The Contortions,
Selector Dub Narcotic,
Sound Behaviour,
Yaz,
The Leaves,
MC5,
Jawbox,
Brass Construction,
The Gories,
Flash Fearless,
The Associates,
Arthur Verocai,
Robert Wyatt,
Warren Ellis,
Lakeside,
The Flesh Eaters, The Flesh Eaters, The Flesh Eaters, The Flesh Eaters.
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.