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 Georgia 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 1965 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Portland.
I'm losing my edge to the art-school Milan 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 oboe sounds with much patience.
I was there when Michael McDonald 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 Oblivians to the crunk kids.
I played it at the Crocodile.
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 Don Cherry. All the underground hits.
All Sight & Sound tracks. I heard you have a vinyl of every Brand Nubian record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slackers,
Manfred Mann's Earth Band,
Lakeside,
Soul II Soul,
Minnie Riperton,
the Association,
X-Ray Spex,
Gang Gang Dance,
The West Coast Pop Art Experimental Band,
Babytalk,
Boredoms,
Art Ensemble Of Chicago,
Depeche Mode,
Shoche,
E-Dancer,
L. Decosne,
X-101,
Derrick May,
Louis and Bebe Barron,
New Age Steppers,
Grandmaster Flash,
Scan 7,
Captain Beefheart & His Magic Band,
Dorothy Ashby,
The Pretty Things,
Connie Case,
Man Parrish,
Moby Grape,
The Red Krayola,
Ituana,
The Walker Brothers,
The Sisters of Mercy,
Graham Central Station,
Gang Starr,
The Dirtbombs,
Danielle Patucci,
T. Rex,
Sparks,
Notorious Big And Bone Thugs,
Pet Shop Boys,
Deakin,
Con Funk Shun,
The Count Five,
D'Angelo,
This Heat,
Lafayette Afro Rock Band,
Roxy Music,
The Dave Clark Five,
Jimmy McGriff,
Royal Trux,
Oneida,
Gary Puckett & The Union Gap,
Crooked Eye,
Lindisfarne,
OOIOO,
Brick,
Cabaret Voltaire,
Kenny Larkin,
Ludus,
Jeff Mills,
Bobby Byrd,
Scott Walker, Scott Walker, Scott Walker, Scott Walker.
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.