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 Lesotho and from Bologna.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and London.
I'm losing my edge to the art-school Philadelphia 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the güiro 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 The Pretty Things to the funk 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 Organ. All the underground hits.
All A Certain Ratio tracks. I heard you have a vinyl of every Saccharine Trust record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a World's Most record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suburban Knight,
Fela Kuti,
Deutsch Amerikanische Freundschaft,
Grandmaster Flash and the Furious Five,
Gil Scott Heron,
Lou Christie,
Susan Cadogan,
Larry & the Blue Notes,
The Litter,
Cymande,
Wasted Youth,
The Residents,
Alton Ellis,
Country Joe & The Fish,
Fear,
Loose Ends,
Glambeats Corp.,
A Flock of Seagulls,
Brick,
The Royal Family And The Poor,
The Men They Couldn't Hang,
Nick Fraelich,
Pagans,
Stockholm Monsters,
Eric Copeland,
Pete Rock & C.L. Smooth,
Supertramp,
Khruangbin,
Terry Callier,
Agent Orange,
Ten City,
Art Ensemble Of Chicago,
Albert Ayler,
Joe Smooth,
Essential Logic,
The Modern Lovers,
Major Organ And The Adding Machine,
New York Dolls,
Quantec,
Franke,
June of 44,
Man Eating Sloth,
Maleditus Sound,
The Gun Club,
It's A Beautiful Day,
Zero Boys,
Nas,
New Age Steppers,
Ohio Players,
Camron Feat. Memphis Bleek And Beenie Seigel,
Mars,
the Germs,
Ludus,
Delon & Dalcan,
Beasts of Bourbon,
Jeff Lynne,
Mad Mike,
Scion,
Drive Like Jehu,
Toni Rubio,
The Pop Group,
The Techniques,
The Moody Blues, The Moody Blues, The Moody Blues, The Moody Blues.
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.