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 Eritrea and from Calgary.
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 1976.
I'm losing my edge.
To all the kids in Mexico City and Jakarta.
I'm losing my edge to the art-school Glasgow 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 1976 at the first Wire practice in a loft in Watford.
I was working on the rhodes 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 Nils Olav to the jazz kids.
I played it at CBGB's.
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 Bobbi Humphrey. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every Connie Case 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 '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-Ray Spex,
Symarip,
Graham Central Station,
Pete Rock & C.L. Smooth,
The Standells,
Drexciya,
Barclay James Harvest,
Orchestral Manoeuvres in the Dark,
Lower 48,
Dorothy Ashby,
Index,
Brand Nubian,
Bluetip,
H. Thieme,
Crash Course in Science,
Mars,
Susan Cadogan,
Underground Resistance,
Essential Logic,
Brass Construction,
Sugar Minott,
Masters at Work,
DJ Style,
Scrapy,
Q and Not U,
Nik Kershaw,
Hasil Adkins,
Quando Quango,
Subhumans,
Girls At Our Best!,
Quantec,
The Index,
Dawn Penn,
Theoretical Girls,
The Neon Judgement,
Ajijia Myrayebe,
Pagans,
Danielle Patucci,
Traffic Nightmare,
The Fortunes,
Kevin Saunderson,
a-ha,
Roger Hodgson,
The Slackers,
Jacques Brel,
Monolake,
The Gap Band,
New Order,
Gian Franco Pienzio,
Junior Murvin,
Neil Young,
The Misunderstood,
The Five Americans,
Oblivians,
Joensuu 1685,
Art Ensemble Of Chicago,
The Move,
Be Bop Deluxe,
Supertramp,
Roxette,
Boz Scaggs,
Jacob Miller,
Scientists, Scientists, Scientists, Scientists.
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.