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 Kiribati and from Lille.
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 1978.
I'm losing my edge.
To all the kids in Seoul and Philadelphia.
I'm losing my edge to the art-school Cairo 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 1976 at the first Chic practice in a loft in New York.
I was working on the 808 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 The Detroit Cobras to the electroclash 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 Roxy Music. All the underground hits.
All Neil Young tracks. I heard you have a vinyl of every The Remains record on German import.
I heard that you have a white label of every seminal rap 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 rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash and the Furious Five,
Black Bananas,
Animal Collective,
Camouflage,
Crispy Ambulance,
Basic Channel,
Marc Almond,
Unwound,
Robert Wyatt,
Soul II Soul,
Marvin Gaye,
Accadde A,
Wings,
Brass Construction,
Moby Grape,
Unrelated Segments,
The Flesh Eaters,
Deutsch Amerikanische Freundschaft,
The Martian,
Mandrill,
One Last Wish,
Bill Wells,
Sound Behaviour,
The Last Poets,
PIL,
Sex Pistols,
Hasil Adkins,
Matthew Halsall,
Juan Atkins,
Wally Richardson,
Grauzone,
Sad Lovers and Giants,
Suicide,
World's Most,
Cameo,
Sonny Sharrock,
Teenage Jesus and the Jerks,
De La Soul & Jungle Brothers,
The Shadows of Knight,
Sister Nancy,
Avey Tare & Kría Brekkan,
X-101,
Groovy Waters,
Spandau Ballet,
Eurythmics,
Dawn Penn,
Gong,
John Lydon,
The Black Dice,
The J.B.'s,
Von Mondo,
Parry Music,
Scientists,
Scratch Acid,
Pantytec,
Audionom,
Gregory Isaacs,
Ken Boothe,
Pete Rock & C.L. Smooth,
Rahsaan Roland Kirk,
Traffic Nightmare, Traffic Nightmare, Traffic Nightmare, Traffic Nightmare.
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.