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 Jamaica and from Delhi.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Bremen and Toronto.
I'm losing my edge to the art-school Bologna 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 808 sounds with much patience.
I was there when Lou Reed 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 Tim Buckley to the jazz kids.
I played it at the 40 Watt.
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 Anthony Braxton. All the underground hits.
All A Certain Ratio tracks. I heard you have a vinyl of every 10cc record on German import.
I heard that you have a white label of every seminal techno 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 harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Section 25 record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Osbourne,
The Wake,
Lee Hazlewood,
Quando Quango,
The Invisible,
Minny Pops,
Main Source,
Stiv Bators,
Oneida,
Lungfish,
Massinfluence,
Heavy D & The Boyz,
Barrington Levy,
the Association,
John Lydon,
CMW,
Chrome,
Roxy Music,
Camberwell Now,
Gichy Dan,
The Saints,
Eurythmics,
Jerry's Kids,
Pierre Henry,
Porter Ricks,
Davy DMX,
The Trojans,
Metal Thangz,
The United States of America,
U.S. Maple,
Circle Jerks,
Inner City,
Make Up,
Shoche,
the Normal,
Severed Heads,
Ice-T,
Tomorrow,
MDC,
The Blackbyrds,
The Gladiators,
Robert Görl,
Ultra Naté,
Kaleidoscope,
Gregory Isaacs,
Avey Tare's Slasher Flicks,
Larry & the Blue Notes,
Deakin,
Marc Almond,
Tres Demented,
Faust,
Wasted Youth,
The Real Kids,
Reuben Wilson,
Accadde A,
Pulsallama,
The Searchers,
Man Parrish,
The Cowsills,
Kool Moe Dee,
Brand Nubian,
the Swans, the Swans, the Swans, the Swans.
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.