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 Burundi and from New York.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1978.
I'm losing my edge.
To all the kids in Jakarta and Spokane.
I'm losing my edge to the art-school Lyon 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 guitar sounds with much patience.
I was there when Donald Fagen 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 Cameo to the crunk 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 Anakelly. All the underground hits.
All Pharaoh Sanders and the Fire Engines tracks. I heard you have a vinyl of every New Age Steppers 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 '50s cut and another box set from the '90s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Rakim record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Mandrill,
Jerry's Kids,
Archie Shepp,
Yazoo,
Joyce Sims,
a-ha,
Red Lorry Yellow Lorry,
Swell Maps,
Cabaret Voltaire,
John Lydon,
Joensuu 1685,
Teenage Jesus and the Jerks,
H. Thieme,
K-Klass,
The Gap Band,
UT,
Popol Vuh,
The Sonics,
Oneida,
Zapp,
Piero Umiliani,
Glenn Branca,
Peter Gordon & Love of Life Orchestra,
Henry Cow,
Brass Construction,
Ossler,
Gil Scott Heron,
The Slits,
Jesper Dahlback,
The United States of America,
Manfred Mann's Earth Band,
Inner City,
Matthew Bourne,
Goldenarms,
Art Ensemble Of Chicago,
Pantaleimon,
The Moleskins,
Average White Band,
Bill Near,
Desert Stars,
The Alarm Clocks,
Sound Behaviour,
Smog,
Iggy Pop,
Rufus Thomas,
Rites of Spring,
Bootsy's Rubber Band,
Radio Birdman,
Crash Course in Science,
In Retrospect,
Boredoms,
Sugar Minott,
ABC,
John Holt,
Wolf Eyes,
The Stooges,
Aaron Thompson,
Gastr Del Sol,
Accadde A,
Angry Samoans,
Hashim,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.