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 India and from Mexico City.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Lille and Accra.
I'm losing my edge to the art-school Woodstock 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 1973 at the first Television practice in a loft in New York.
I was working on the clarinet 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 Big Daddy Kane to the funk kids.
I played it at the Crocodile.
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 K-Klass. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every 8 Eyed Spy record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Ultramagnetic MC's record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brick,
Flipper,
Laurel Aitken,
Chris & Cosey,
Niagra,
Michelle Simonal,
Delon & Dalcan,
Procol Harum,
Crooked Eye,
Anthony Braxton,
Darondo,
Heaven 17,
The Motions,
Kevin Saunderson,
Heavy D & The Boyz,
Gang Starr,
World's Most,
Tom Boy,
Country Joe & The Fish,
Dennis Brown,
ABBA,
Maurizio,
The Victims,
David McCallum,
Unrelated Segments,
Suicide,
Traffic Nightmare,
Red Lorry Yellow Lorry,
DJ Style,
The J.B.'s,
Kango’s Stein Massive,
Adolescents,
Moby Grape,
Leonard Cohen,
Max Romeo,
Eddi Front,
Pere Ubu,
Joe Finger,
Marcia Griffiths,
Ituana,
The Pop Group,
Bronski Beat,
The Smoke,
Bad Manners,
Brand Nubian,
The Star Department,
Scott Walker,
Theoretical Girls,
The Searchers,
Avey Tare & Kría Brekkan,
Robert Görl,
Tomorrow,
Ice-T,
Eden Ahbez,
Harmonia,
Bobby Womack,
Jacques Brel,
Bizarre Inc.,
The Electric Prunes,
Banda Bassotti,
Aural Exciters,
Siglo XX,
Toni Rubio,
John Foxx,
Jimmy McGriff, Jimmy McGriff, Jimmy McGriff, Jimmy McGriff.
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.