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 Mexico and from Tokyo.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Bremen and Tokyo.
I'm losing my edge to the art-school Lille 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 marimba 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 Malaria! to the funk 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 Reuben Wilson. All the underground hits.
All Ossler tracks. I heard you have a vinyl of every The Divine Comedy record on German import.
I heard that you have a white label of every seminal jazz 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 an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camberwell Now,
Nico,
Röyhkä ja Rättö ja Lehtisalo,
Sun Ra Arkestra,
Lungfish,
Gil Scott-Heron and Jamie xx,
The Vogues,
The Sisters of Mercy,
Supertramp,
Sex Pistols,
Kerrie Biddell,
Pylon,
Black Moon,
Morten Harket,
Minnie Riperton,
Delta 5,
Skriet,
Swell Maps,
Stereo Dub,
Sun Ra,
Jimmy McGriff,
MC5,
The Chocolate Watch Band,
Pole,
Andrew Ashong & Theo Parrish,
Robert Hood,
The Kinks,
Bob Dylan,
Heaven 17,
World's Most,
Liaisons Dangereuses,
Ituana,
Trumans Water,
Sun City Girls,
Young Marble Giants,
Popol Vuh,
Howard Jones,
The Modern Lovers,
Nick Cave & The Bad Seeds,
Saccharine Trust,
Bobby Sherman,
The Red Krayola,
The Human League,
Quadrant,
Erasure,
The Motions,
Graham Central Station,
Unrelated Segments,
Todd Terry,
Marshall Jefferson,
The Last Poets,
Dual Sessions,
Radiohead,
Idris Muhammad,
Darondo,
The Gladiators,
The Cure,
The Skatalites,
The Velvet Underground,
Kaleidoscope,
David Bowie, David Bowie, David Bowie, David Bowie.
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.