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 Slovakia and from Mumbai.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Manchester and Sao Paulo.
I'm losing my edge to the art-school Stockholm 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 Chic practice in a loft in New York.
I was working on the sitar 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 Ossler to the grunge kids.
I played it at the Hacienda.
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 U.S. Maple. All the underground hits.
All The United States of America tracks. I heard you have a vinyl of every Vaughan Mason & Crew 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 an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Gong record.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lyres,
In Retrospect,
T. Rex,
The West Coast Pop Art Experimental Band,
Larry & the Blue Notes,
Moss Icon,
the Germs,
Roxette,
DJ Sneak,
Jesper Dahlback,
Bobbi Humphrey,
Rakim,
The Human League,
The Sound,
Brass Construction,
Black Bananas,
Mary Jane Girls,
Urselle,
Lalo Schifrin,
Ken Boothe,
The Cure,
Lightning Bolt,
Joe Finger,
The Remains,
Ultravox,
Massinfluence,
Al Stewart,
Minnie Riperton,
Selector Dub Narcotic,
Charles Mingus,
John Lydon,
Gary Puckett & The Union Gap,
Rowland S Howard / Lydia Lunch,
Unrelated Segments,
L. Decosne,
Marine Girls,
Mars,
PIL,
Scrapy,
New York Dolls,
Sunsets and Hearts,
The Residents,
Junior Murvin,
Jerry's Kids,
Gil Scott-Heron & Brian Jackson,
Kayak,
Monks,
Susan Cadogan,
Depeche Mode,
Tropical Tobacco,
A Certain Ratio,
Section 25,
Rosa Yemen,
Desert Stars,
Jeff Mills,
Idris Muhammad,
the Fania All-Stars,
Drive Like Jehu,
X-Ray Spex,
Lakeside,
DNA, DNA, DNA, DNA.
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.