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 Solomon Islands and from Johannesburg.
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 1978.
I'm losing my edge.
To all the kids in Shanghai and Manchester.
I'm losing my edge to the art-school Cairo 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 Big Star practice in a loft in Memphis.
I was working on the oboe sounds with much patience.
I was there when David Bowie 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 Mad Mike to the jazz 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 Grandmaster Flash. All the underground hits.
All Black Pus tracks. I heard you have a vinyl of every Delon & Dalcan record on German import.
I heard that you have a white label of every seminal rock 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 spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Motions record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Art Ensemble Of Chicago,
FM Einheit,
Chrome,
a-ha,
Alison Limerick,
Skriet,
The Fire Engines,
D'Angelo,
The Skatalites,
Pharoah Sanders,
the Sonics,
Thompson Twins,
DeepChord presents Echospace,
Skaos,
Jacques Brel,
Kenny Larkin,
The Victims,
Eden Ahbez,
K-Klass,
MDC,
Brothers Johnson,
the Human League,
Louis and Bebe Barron,
Alice Coltrane,
Aloha Tigers,
Suicide,
The Gun Club,
MC5,
Radio Birdman,
Pet Shop Boys,
Stereo Dub,
De La Soul & Jungle Brothers,
Camberwell Now,
The Wake,
L. Decosne,
Amon Düül,
Blake Baxter,
Jesper Dahlback,
Scratch Acid,
Camron Feat. Memphis Bleek And Beenie Seigel,
Dark Day,
Slave,
Sugar Minott,
Quantec,
Moss Icon,
Visage,
Black Moon,
Chris Corsano,
Joe Smooth,
Tommy Roe,
Man Parrish,
Ronnie Foster,
Outsiders,
Peter & Gordon,
Suburban Knight,
Sister Nancy,
Kurtis Blow,
June of 44,
Soft Cell,
Echo & the Bunnymen,
DNA,
Reuben Wilson,
F. McDonald,
Monolake, Monolake, Monolake, Monolake.
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.