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 Libya and from Delhi.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1976.
I'm losing my edge.
To all the kids in Paris and Mexico City.
I'm losing my edge to the art-school Lille 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 snare 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 Stetsasonic to the rock kids.
I played it at the Spitz.
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 Accadde A. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every A Certain Ratio record on German import.
I heard that you have a white label of every seminal jazz 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 clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Slick Rick record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tres Demented,
The Gun Club,
Oppenheimer Analysis,
Guru Guru,
U.S. Maple,
Sugar Minott,
New Age Steppers,
Babytalk,
London Community Gospel Choir,
The Electric Prunes,
Bizarre Inc.,
Gang Green,
Reuben Wilson,
Colin Newman,
Cal Tjader,
The Jesus and Mary Chain,
Groovy Waters,
The Five Americans,
Cabaret Voltaire,
Blake Baxter,
Gil Scott-Heron & Brian Jackson,
A Flock of Seagulls,
Swell Maps,
Essential Logic,
Ronnie Foster,
Eyeless In Gaza,
Livin' Joy,
Lizzy Mercier Descloux,
Leonard Cohen,
Peter Gordon & Love of Life Orchestra,
Urselle,
Scientists,
Gichy Dan,
Ludus,
The Cowsills,
the Swans,
Second Layer,
Sticky Fingaz feat. Raekwon,
Fela Kuti,
The Doobie Brothers,
Roy Ayers Ubiquity,
L. Decosne,
Traffic Nightmare,
Piero Umiliani,
Gerry Rafferty,
Neu!,
OOIOO,
Brass Construction,
Flipper,
Prince Buster,
The Royal Family And The Poor,
Kings Of Tomorrow,
Yaz,
Matthew Bourne,
China Crisis,
Niagra,
Audionom,
Mandrill,
Blancmange,
Public Image Ltd.,
Rowland S Howard / Lydia Lunch,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.