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 East Timor and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Shanghai and Toronto.
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 chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Neil Young to the funk 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 Minnie Riperton. All the underground hits.
All The Count Five tracks. I heard you have a vinyl of every ABBA 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 synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Moleskins record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anakelly,
Robert Wyatt,
Quando Quango,
This Heat,
Ralphi Rosario,
Mr. Review,
Red Lorry Yellow Lorry,
The Knickerbockers,
Althea and Donna,
The Index,
The Music Machine,
Essential Logic,
Ultravox,
Stereo Dub,
Eric Copeland,
Junior Murvin,
Black Bananas,
The Shadows of Knight,
Oppenheimer Analysis,
10cc,
The Martian,
Lou Reed,
Lalo Schifrin,
Section 25,
The Wake,
Fad Gadget,
Richard Hell and the Voidoids,
Youth Brigade,
Flash Fearless,
The Blues Magoos,
Rites of Spring,
The Alarm Clocks,
MC5,
The United States of America,
Eve St. Jones,
Marc Romboy vs. Booka Shade,
Camberwell Now,
Blake Baxter,
Nick Fraelich,
Suicide,
The Sound,
Stetsasonic,
Alice Coltrane,
Warsaw,
Shoche,
Rapeman,
K-Klass,
Mo-Dettes,
U.S. Maple,
Gabor Szabo,
Organ,
Jeru the Damaja,
Circle Jerks,
Throbbing Gristle,
Tommy Roe,
Sun Ra,
AZ,
Charles Mingus,
Piero Umiliani,
Qualms,
Procol Harum,
UT,
Danielle Patucci, Danielle Patucci, Danielle Patucci, Danielle Patucci.
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.