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 Ghana and from Glasgow.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Madrid.
I'm losing my edge to the art-school Paris 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 spring reverb 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 Swell Maps to the dance 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 Patti Smith. All the underground hits.
All Stereo Dub tracks. I heard you have a vinyl of every Bootsy Collins record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
Nas,
Au Pairs,
Camberwell Now,
The Motions,
The Fuzztones,
The Modern Lovers,
Avey Tare & Kría Brekkan,
Wolf Eyes,
Thinking Fellers Union Local 282,
Agent Orange,
Bill Wells,
The Moleskins,
Barry Ungar,
Mandrill,
Saccharine Trust,
Suburban Knight,
Eurythmics,
Pere Ubu,
La Düsseldorf,
The West Coast Pop Art Experimental Band,
The Zeros,
Toni Rubio,
Kings Of Tomorrow,
Dawn Penn,
Nation of Ulysses,
Blake Baxter,
The Cowsills,
Kas Product,
Inner City,
Zero Boys,
Fluxion,
Khruangbin,
Anakelly,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Nick Fraelich,
Minny Pops,
the Bar-Kays,
Dual Sessions,
Sarah Menescal,
The Divine Comedy,
Joe Finger,
Skarface,
Deakin,
Maurizio,
Todd Terry,
Derrick Morgan,
Porter Ricks,
the Slits,
The Young Rascals,
Pantaleimon,
Sister Nancy,
The Sonics,
Los Fastidios,
Section 25,
Von Mondo,
Flipper,
Bang On A Can,
Circle Jerks,
Crispian St. Peters,
New York Dolls,
Johnny Osbourne, Johnny Osbourne, Johnny Osbourne, Johnny Osbourne.
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.