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 Nicaragua and from Paris.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Seoul and Delhi.
I'm losing my edge to the art-school Bologna 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the spring reverb 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 Sister Nancy to the grime kids.
I played it at the Troubador.
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 Terry Callier. All the underground hits.
All The United States of America tracks. I heard you have a vinyl of every The Young Rascals record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Bourne record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Clear Light,
Maurizio,
Dead Boys,
kango's stein massive,
Flash Fearless,
Crispian St. Peters,
The Shadows of Knight,
Kings Of Tomorrow,
Skriet,
Soft Cell,
Liliput,
Scott Walker,
Television,
Drexciya,
Pet Shop Boys,
Zero Boys,
Index,
Second Layer,
Bauhaus,
Connie Case,
Captain Beefheart & His Magic Band,
The Remains,
Jeff Lynne,
Red Lorry Yellow Lorry,
Stiv Bators,
Electric Prunes,
Eyeless In Gaza,
Khruangbin,
Royal Trux,
Niagra,
The Black Dice,
Selector Dub Narcotic,
Black Moon,
Gil Scott-Heron & Brian Jackson,
the Soft Cell,
Major Organ And The Adding Machine,
Gang of Four,
Silicon Teens,
Toni Rubio,
It's A Beautiful Day,
The Offenders,
Colin Newman,
The Blackbyrds,
Cabaret Voltaire,
Subhumans,
Robert Wyatt,
Curtis Mayfield,
Chris & Cosey,
Section 25,
Anakelly,
Japan,
Outsiders,
Ponytail,
The Star Department,
Andrew Ashong & Theo Parrish,
Scientists,
Scratch Acid,
Country Teasers,
Deepchord,
Yaz,
Al Stewart, Al Stewart, Al Stewart, Al Stewart.
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.