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 Laos and from Philadelphia.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Portland and Seoul.
I'm losing my edge to the art-school Toronto 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 harpsichord sounds with much patience.
I was there when David Bowie 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 Ossler to the jazz kids.
I played it at the Crocodile.
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 Interpol. All the underground hits.
All Nik Kershaw tracks. I heard you have a vinyl of every The Smiths 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 '60s cut and another box set from the '70s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a DNA record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fifty Foot Hose,
Essential Logic,
DNA,
Reagan Youth,
Mad Mike,
The Gladiators,
Technova,
Colin Newman,
Sun Ra,
Severed Heads,
Animal Collective,
John Coltrane,
Kaleidoscope,
Art Ensemble Of Chicago,
Gong,
Robert Wyatt,
The Fugs,
The Smiths,
Nation of Ulysses,
Joe Finger,
David McCallum,
Rekid,
Soulsonic Force,
John Lydon,
Pharaoh Sanders and the Fire Engines,
Minnie Riperton,
Tears for Fears,
Soul II Soul,
Michelle Simonal,
Wolf Eyes,
Dual Sessions,
Amon Düül II,
The Neon Judgement,
Banda Bassotti,
Public Image Ltd.,
Hardrive,
Barry Ungar,
Amazonics,
Zapp,
The Black Dice,
Joe Smooth,
Gabor Szabo,
Drive Like Jehu,
Cameo,
The Names,
John Holt,
Royal Trux,
Orchestral Manoeuvres in the Dark,
Ossler,
Section 25,
Agitation Free,
Lou Reed & John Cale,
X-102,
Ohio Players,
Morten Harket,
Eurythmics,
Deepchord,
Donald Byrd,
Wire,
Black Moon,
Slave, Slave, Slave, Slave.
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.