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 Mauritania and from Tehran.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Accra.
I'm losing my edge to the art-school Lagos 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the organ 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 Dark Day to the crunk kids.
I played it at the Roxy.
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 Stetsasonic tracks. I heard you have a vinyl of every Sonny Sharrock 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 '60s cut and another box set from the '90s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Graham Central Station,
LL Cool J,
La Düsseldorf,
Tres Demented,
The Cramps,
John Coltrane,
Loose Ends,
Marvin Gaye,
Danielle Patucci,
Soulsonic Force,
The Cosmic Jokers,
Joensuu 1685,
Soft Cell,
James White and The Blacks,
Model 500,
Marcia Griffiths,
AZ,
DJ Sneak,
Charles Mingus,
Ponytail,
John Holt,
JFA,
Desert Stars,
Grandmaster Flash,
Skarface,
Grey Daturas,
Junior Murvin,
Surgeon,
The Fuzztones,
The Toasters,
Heaven 17,
Kool Moe Dee,
China Crisis,
Mars,
Suicide,
Ronnie Foster,
Basic Channel,
The West Coast Pop Art Experimental Band,
Kurtis Blow,
Maurizio,
Tim Buckley,
The Shadows of Knight,
Juan Atkins,
Glambeats Corp.,
Bootsy Collins,
Fat Boys,
Eyeless In Gaza,
The Techniques,
Sound Behaviour,
Dual Sessions,
Susan Cadogan,
Talk Talk,
The American Breed,
Amon Düül,
Duran Duran,
The Names,
Deepchord,
Adolescents,
The Doors,
Eurythmics,
ABBA,
Cheater Slicks,
Scott Walker,
Cluster, Cluster, Cluster, Cluster.
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.