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 Uzbekistan and from Spokane.
But I was there.
I was there in .
I was there at the first Suicide 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 1965 to 1974.
I'm losing my edge.
To all the kids in London and Columbus.
I'm losing my edge to the art-school Johannesburg 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 Mary Jane Girls to the punk 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 Lalann. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every Ponytail record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your marimba and bought a snare.
I hear that you and your band have sold your snare and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Nik Kershaw,
Swell Maps,
The Human League,
James Chance & The Contortions,
Section 25,
Ronnie Foster,
Johnny Osbourne,
CMW,
The Music Machine,
Public Image Ltd.,
Flash Fearless,
London Community Gospel Choir,
A Flock of Seagulls,
Big Daddy Kane,
Sly & The Family Stone,
The Alarm Clocks,
Moby Grape,
Bad Manners,
Jesper Dahlback,
Wire,
Accadde A,
Talk Talk,
Circle Jerks,
Camron Feat. Memphis Bleek And Beenie Seigel,
Scan 7,
The Real Kids,
Gang Gang Dance,
Young Marble Giants,
Glenn Branca,
The Mummies,
Danielle Patucci,
Neil Young,
Blossom Toes,
Minor Threat,
Audionom,
Harry Pussy,
Josef K,
Toni Rubio,
Negative Approach,
Cymande,
Adolescents,
Brass Construction,
Selector Dub Narcotic,
Sandy B,
Crispy Ambulance,
Piero Umiliani,
Eyeless In Gaza,
Avey Tare,
Newcleus,
Au Pairs,
Kerrie Biddell,
New Order,
Rowland S Howard / Lydia Lunch,
Lebanon Hanover,
Sun City Girls,
Amon Düül II,
The Doors,
Y Pants,
Oppenheimer Analysis,
Bobby Hutcherson,
Niagra,
DNA, DNA, DNA, DNA.
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.