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 Mauritania and from London.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1970.
I'm losing my edge.
To all the kids in Johannesburg and Stockholm.
I'm losing my edge to the art-school Johannesburg 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 synthesizer 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 The Grass Roots to the jazz 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 Gil Scott-Heron & Brian Jackson. All the underground hits.
All Gerry Rafferty tracks. I heard you have a vinyl of every Lou Reed 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 '50s cut and another box set from the '70s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Durutti Column,
Dorothy Ashby,
It's A Beautiful Day,
Echospace,
Hasil Adkins,
Scan 7,
Jacob Miller,
Camouflage,
Aural Exciters,
The Gories,
Cheater Slicks,
Eli Mardock,
Sly & The Family Stone,
The Zeros,
Jacques Brel,
Vladislav Delay,
Freddie Wadling,
Wolf Eyes,
Maleditus Sound,
Angels of Light & Akron/Family,
Siouxsie and the Banshees,
Sarah Menescal,
AZ,
The Cramps,
Archie Shepp,
Visage,
Joe Finger,
The West Coast Pop Art Experimental Band,
Black Bananas,
Chrome,
the Human League,
La Düsseldorf,
Rakim,
PIL,
Nils Olav,
Gregory Isaacs,
Graham Central Station,
The Angels of Light,
ABC,
Moby Grape,
Intrusion,
The Martian,
Model 500,
Camron Feat. Jay Z And Juelz,
Q65,
The J.B.'s,
A Certain Ratio,
Jeff Lynne,
FM Einheit,
James White and The Blacks,
Avey Tare & Kría Brekkan,
Dawn Penn,
Major Organ And The Adding Machine,
Nik Kershaw,
Cymande,
Basic Channel,
The Gap Band,
The Men They Couldn't Hang,
Dave Gahan,
Mark Hollis,
Girls At Our Best!,
Amazonics, Amazonics, Amazonics, Amazonics.
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.