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 Macedonia and from Lille.
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 1979.
I'm losing my edge.
To all the kids in Stockholm and Halifax.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Brothers Johnson to the rap kids.
I played it at CBGB's.
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 The Flesh Eaters. All the underground hits.
All Wally Richardson tracks. I heard you have a vinyl of every Barbara Tucker 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 '90s.
I hear you're buying a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Grey Daturas record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Sneak,
Neil Young & Crazy Horse,
Grandmaster Flash,
New York Dolls,
The Mighty Diamonds,
Trumans Water,
Gang Green,
Siglo XX,
Albert Ayler,
The Victims,
F. McDonald,
Model 500,
The Happenings,
Sarah Menescal,
The Flesh Eaters,
Moebius,
Marc Almond,
The Black Dice,
Kurtis Blow,
Bill Near,
John Holt,
Warsaw,
Derrick Morgan,
Heaven 17,
Kayak,
Marc Romboy vs. Booka Shade,
James Chance & The Contortions,
Nico,
Rahsaan Roland Kirk,
Television,
Jesper Dahlbäck,
Max Romeo,
The Walker Brothers,
Joensuu 1685,
Kool Moe Dee,
Maleditus Sound,
Bootsy's Rubber Band,
Jesper Dahlback,
Archie Shepp,
Quadrant,
Q65,
Monolake,
The American Breed,
Lakeside,
Hot Snakes,
The Move,
Notorious BIG live in Amsterdam,
Barrington Levy,
Ken Boothe,
10cc,
Zapp,
Glambeats Corp.,
Scratch Acid,
The Slackers,
Soft Cell,
Deadbeat,
Eric B and Rakim,
The Grass Roots,
Jeru the Damaja,
Hashim,
Connie Case,
Lafayette Afro Rock Band,
Letta Mbulu,
Mandrill, Mandrill, Mandrill, Mandrill.
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.