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 Tanzania and from Seoul.
But I was there.
I was there in 1973.
I was there at the first Television 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 1968 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Shanghai.
I'm losing my edge to the art-school Jakarta 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 theremin sounds with much patience.
I was there when Robert Palmer 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 Skatalites to the jazz kids.
I played it at Trash.
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 Lou Reed. All the underground hits.
All Sly & The Family Stone tracks. I heard you have a vinyl of every The Star Department record on German import.
I heard that you have a white label of every seminal grunge 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 spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Desert Stars record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mojo Men,
Davy DMX,
Audionom,
Con Funk Shun,
Barry Ungar,
Stetsasonic,
Q65,
The Doobie Brothers,
Big Daddy Kane,
Symarip,
Fat Boys,
DeepChord presents Echospace,
Ornette Coleman,
Rufus Thomas,
Sarah Menescal,
The Walker Brothers,
Ralphi Rosario,
Second Layer,
Notorious Big And Bone Thugs,
Drexciya,
The Chocolate Watch Band,
Aloha Tigers,
Sandy B,
The Neon Judgement,
Half Japanese,
Freddie Wadling,
Roxy Music,
The Tremeloes,
Pole,
Chrome,
Peter and Kerry,
Black Pus,
Fugazi,
Sonny Sharrock,
Roy Ayers Ubiquity,
James White and The Blacks,
The Black Dice,
X-102,
The Gories,
Sticky Fingaz feat. Raekwon,
Jeff Lynne,
Nico,
Agitation Free,
Scion,
Patti Smith,
Byron Stingily,
Mark Hollis,
Bluetip,
David Bowie,
The Sisters of Mercy,
Tropical Tobacco,
Angels of Light & Akron/Family,
Sonic Youth,
Faraquet,
The Residents,
Sister Nancy,
Television,
The American Breed,
Gil Scott Heron,
Soulsonic Force,
Electric Prunes,
Camouflage,
ABBA, ABBA, ABBA, ABBA.
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.