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 Equatorial Guinea and from Manchester.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Paris.
I'm losing my edge to the art-school Lagos 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 Zapp practice in a loft in Hamilton.
I was working on the oboe 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 Avey Tare & Kría Brekkan to the funk kids.
I played it at the Hacienda.
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 The Victims. All the underground hits.
All Camberwell Now tracks. I heard you have a vinyl of every Selector Dub Narcotic record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Fela Kuti record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aswad,
Andrew Ashong & Theo Parrish,
Danielle Patucci,
Grey Daturas,
Fela Kuti,
The Birthday Party,
Deepchord,
Bizarre Inc.,
Gong,
Magma,
Joe Smooth,
The Fortunes,
Notorious BIG live in Amsterdam,
LL Cool J,
Pulsallama,
Ohio Players,
Blossom Toes,
Grauzone,
Lindisfarne,
Symarip,
Das Ding,
Brick,
Deakin,
Lou Reed,
Lou Reed & Metallica,
Kurtis Blow,
The Beau Brummels,
Dorothy Ashby,
The Last Poets,
Echospace,
Terrestrial Tones,
Pharoah Sanders,
DJ Style,
Robert Görl,
The Trojans,
Derrick May,
The Index,
Davy DMX,
Big Daddy Kane,
Eric B and Rakim,
Fugazi,
Althea and Donna,
Black Sheep,
Fort Wilson Riot,
Guru Guru,
Joe Finger,
Barclay James Harvest,
Aaron Thompson,
Stereo Dub,
The Sonics,
The Blues Magoos,
Pet Shop Boys,
The Flesh Eaters,
Inner City,
The New Christs,
Porter Ricks,
AZ,
Joey Negro,
Mission of Burma,
the Association,
Crime,
Gian Franco Pienzio,
Josef K, Josef K, Josef K, Josef K.
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.