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 Singapore and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1971.
I'm losing my edge.
To all the kids in New York and Beijing.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the linndrum sounds with much patience.
I was there when Lou Reed 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 T. Rex to the techno kids.
I played it at Cafe Wha.
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 UT. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every EPMD 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 '50s cut and another box set from the '90s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boogie Down Productions,
Tres Demented,
Camberwell Now,
Pulsallama,
Deepchord,
Lou Reed & Metallica,
Man Eating Sloth,
Lebanon Hanover,
Talk Talk,
The Offenders,
Peter Gordon & Love of Life Orchestra,
Sandy B,
Hardrive,
The Vogues,
Bill Near,
Rufus Thomas,
Shoche,
June Days,
Easy Going,
Scratch Acid,
Graham Central Station,
FM Einheit,
The Five Americans,
Darondo,
The Motions,
Ronnie Foster,
Pierre Henry,
Organ,
James Chance & The Contortions,
Malaria!,
Black Flag,
Roxy Music,
Nico,
Bronski Beat,
Glenn Branca,
Marvin Gaye,
Arab on Radar,
Carl Craig,
Zero Boys,
London Community Gospel Choir,
Kenny Larkin,
Von Mondo,
Ken Boothe,
Oppenheimer Analysis,
Bang On A Can,
Eric Copeland,
The West Coast Pop Art Experimental Band,
One Last Wish,
Sexual Harrassment,
John Holt,
Kauko Röyhkä ja Narttu,
Soft Cell,
DJ Sneak,
Slick Rick,
Second Layer,
Parry Music,
Orchestral Manoeuvres in the Dark,
New Order,
Kings Of Tomorrow,
Dennis Brown,
Marc Almond,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.