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 Hungary and from Lille.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1977.
I'm losing my edge.
To all the kids in Johannesburg and Glasgow.
I'm losing my edge to the art-school Calgary 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 arpeggiator 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 the Fania All-Stars to the electroclash kids.
I played it at Cafe Wha.
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 Ornette Coleman. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every Neil Young 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 '80s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
PIL,
Cymande,
Boredoms,
Rufus Thomas,
Harpers Bizarre,
Rod Modell,
FM Einheit,
Lucky Dragons,
Slave,
Sexual Harrassment,
James White and The Blacks,
Notorious BIG live in Amsterdam,
The Star Department,
Jesper Dahlbäck,
Kas Product,
Tommy Roe,
The Fortunes,
Whodini,
Gong,
Kango’s Stein Massive,
Youth Brigade,
Q65,
Joyce Sims,
Radiohead,
Gregory Isaacs,
Strawberry Alarm Clock,
Buzzcocks,
Deakin,
Lizzy Mercier Descloux,
Ohio Players,
The Selecter,
Scratch Acid,
Eve St. Jones,
Howard Jones,
Scott Walker + Sunn O))),
Manfred Mann's Earth Band,
Qualms,
Scott Walker,
Section 25,
Scan 7,
Kurtis Blow,
The Birthday Party,
Television,
EPMD,
Scientists,
Oppenheimer Analysis,
Suburban Knight,
Ultimate Spinach,
Harry Pussy,
Technova,
The Remains,
Faust,
The Mummies,
Neu!,
Joy Division,
Groovy Waters,
Kaleidoscope,
Grandmaster Flash,
Röyhkä ja Rättö ja Lehtisalo,
Country Teasers,
Mark Hollis,
Spandau Ballet,
The Mojo Men, The Mojo Men, The Mojo Men, The Mojo Men.
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.