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 East Timor and from Paris.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Stockholm and Edmonton.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the güiro sounds with much patience.
I was there when Holger Czukay 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 Malaria! to the punk 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 the Germs. All the underground hits.
All Black Bananas tracks. I heard you have a vinyl of every Public Image Ltd. record on German import.
I heard that you have a white label of every seminal electroclash 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 guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a DeepChord presents Echospace record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Kerri Chandler,
The Gories,
Joe Smooth,
R.M.O.,
The Count Five,
Negative Approach,
The Monks,
KRS-One,
the Fania All-Stars,
Crispy Ambulance,
Vainqueur,
Scion,
A Certain Ratio,
Kas Product,
Q and Not U,
Hasil Adkins,
The Motions,
Altered Images,
Vladislav Delay,
Sound Behaviour,
Deakin,
Crime,
Aural Exciters,
The Mighty Diamonds,
Faraquet,
Lower 48,
Ash Ra Tempel,
Gabor Szabo,
The J.B.'s,
Gil Scott-Heron & Brian Jackson,
Janne Schatter,
Monks,
Excepter,
Jesper Dahlback,
Brothers Johnson,
Gian Franco Pienzio,
Kango’s Stein Massive,
Kerrie Biddell,
DJ Sneak,
PIL,
Zero Boys,
DNA,
Tropical Tobacco,
The Mummies,
The Alarm Clocks,
Notorious BIG live in Amsterdam,
Aaron Thompson,
Robert Wyatt,
Lucky Dragons,
Rufus Thomas,
New Order,
Gichy Dan,
Patti Smith,
The Moody Blues,
Dark Day,
Country Teasers,
Icehouse,
The Offenders,
Manfred Mann's Earth Band,
Alton Ellis, Alton Ellis, Alton Ellis, Alton Ellis.
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.