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 Kiribati and from Johannesburg.
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 1974.
I'm losing my edge.
To all the kids in Shanghai and Milan.
I'm losing my edge to the art-school Lille 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 rhodes sounds with much patience.
I was there when Donald Fagen 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 Sticky Fingaz feat. Raekwon to the grunge kids.
I played it at the Astoria.
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 Terror Squad Feat. Camron. All the underground hits.
All Slick Rick tracks. I heard you have a vinyl of every The Searchers 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 '60s cut and another box set from the '70s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
Saccharine Trust,
Lee Hazlewood,
Yaz,
DJ Style,
Gary Puckett & The Union Gap,
AZ,
Gil Scott-Heron & Brian Jackson,
Albert Ayler,
Dennis Brown,
The Gap Band,
Jerry Gold Smith,
Marmalade,
Brothers Johnson,
Visage,
Subhumans,
Peter and Kerry,
Big Daddy Kane,
The Velvet Underground,
The Blackbyrds,
The Human League,
Con Funk Shun,
Flipper,
The Motions,
Gil Scott-Heron and Jamie xx,
Iggy Pop,
Rapeman,
Can,
Scott Walker + Sunn O))),
Rhythm & Sound,
Camouflage,
Man Parrish,
Cluster,
The Flesh Eaters,
10cc,
In Retrospect,
cv313,
Beasts of Bourbon,
Derrick May,
Louis and Bebe Barron,
Magazine,
The Pop Group,
Jandek,
Fugazi,
The Evens,
Porter Ricks,
Nas,
the Bar-Kays,
Larry & the Blue Notes,
Barbara Tucker,
Y Pants,
Kango’s Stein Massive,
Black Sheep,
Brass Construction,
Nik Kershaw,
Symarip,
Bob Dylan,
Neil Young,
Avey Tare & Kría Brekkan,
Amon Düül,
Bootsy Collins,
Siglo XX,
Sällskapet,
Boredoms,
Monks, Monks, Monks, Monks.
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.