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 Maldives and from Lyon.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Lille and Lille.
I'm losing my edge to the art-school Glasgow 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the theremin 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 Rod Modell to the crunk kids.
I played it at Cafe Wha.
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 Popol Vuh. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every Anthony Braxton 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 '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marmalade,
The Electric Prunes,
La Düsseldorf,
The Gun Club,
John Holt,
Minor Threat,
The Fall,
Manfred Mann's Earth Band,
Susan Cadogan,
Con Funk Shun,
Tropical Tobacco,
Faraquet,
The Young Rascals,
Lou Reed,
Ultra Naté,
Los Fastidios,
X-101,
Pete Rock & C.L. Smooth,
The Raincoats,
Kenny Larkin,
Mary Jane Girls,
The Selecter,
Bill Near,
Nils Olav,
The Cowsills,
The Dave Clark Five,
Pole,
Sandy B,
The Barracudas,
Al Stewart,
Hoover,
The Trojans,
Donny Hathaway,
Radiopuhelimet,
Derrick May,
Ralphi Rosario,
Vaughan Mason & Crew,
The Standells,
Nas,
Ajijia Myrayebe,
Terrestrial Tones,
Lightning Bolt,
Masters at Work,
the Normal,
Bad Manners,
Bobby Sherman,
Sound Behaviour,
Matthew Halsall,
Dorothy Ashby,
Wighnomy Brothers & Robag Wruhme,
Heavy D & The Boyz,
The Slackers,
KRS-One,
The Tremeloes,
Alphaville,
Amon Düül II,
Fad Gadget,
The Moody Blues,
Kings Of Tomorrow,
Neil Young,
Kurtis Blow, Kurtis Blow, Kurtis Blow, Kurtis Blow.
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.