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 United Kingdom and from Beijing.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1972.
I'm losing my edge.
To all the kids in Toronto and Johannesburg.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the oboe sounds with much patience.
I was there when Michael McDonald 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 Byron Stingily to the techno 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 Faraquet. All the underground hits.
All Kas Product tracks. I heard you have a vinyl of every Stockholm Monsters 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 '70s cut and another box set from the '80s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance 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?
Make Up,
Kurtis Blow,
Royal Trux,
The Leaves,
Wighnomy Brothers & Robag Wruhme,
Fluxion,
Hashim,
Rites of Spring,
Main Source,
Junior Murvin,
Bobby Womack,
X-101,
Hardrive,
Warren Ellis,
Circle Jerks,
DJ Sneak,
Bill Near,
Gil Scott-Heron and Jamie xx,
Lonnie Liston Smith,
Letta Mbulu,
Suburban Knight,
Joyce Sims,
John Cale,
The Beau Brummels,
Magma,
Michelle Simonal,
Wire,
Funky Four + One,
Kings Of Tomorrow,
Minny Pops,
Eric Copeland,
The Standells,
A Certain Ratio,
Heaven 17,
Depeche Mode,
Andrew Ashong & Theo Parrish,
Alton Ellis,
X-Ray Spex,
Reuben Wilson,
Sex Pistols,
Nik Kershaw,
Scan 7,
Bobby Hutcherson,
Rhythim Is Rhythim,
Joe Finger,
James White and The Blacks,
Unwound,
Amon Düül II,
Funkadelic,
Boogie Down Productions,
The Mummies,
Niagra,
Jerry Gold Smith,
Q and Not U,
Lalann,
Black Bananas,
Jimmy McGriff,
Gabor Szabo,
Magazine,
The Pop Group,
Red Lorry Yellow Lorry,
The Fuzztones, The Fuzztones, The Fuzztones, The Fuzztones.
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.