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 the UAE and from Manchester.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Salvador.
I'm losing my edge to the art-school Hong Kong 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the 808 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 The Shadows of Knight to the crunk kids.
I played it at Cafe Wha.
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 Sonic Youth. All the underground hits.
All Alice Coltrane tracks. I heard you have a vinyl of every Guru Guru 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 '90s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dawn Penn,
Moby Grape,
Max Romeo,
Bad Manners,
Section 25,
Kango’s Stein Massive,
Jandek,
Isaac Hayes,
The Motions,
Camron Feat. Memphis Bleek And Beenie Seigel,
Joensuu 1685,
KRS-One,
Wings,
The Electric Prunes,
Nick Cave & The Bad Seeds,
Justin Hinds & The Dominoes,
Stockholm Monsters,
Lee Hazlewood,
Junior Murvin,
Deepchord,
Cal Tjader,
Spandau Ballet,
Ponytail,
Royal Trux,
Throbbing Gristle,
The Beau Brummels,
Japan,
Roxette,
Graham Central Station,
Henry Cow,
Glambeats Corp.,
Bluetip,
The Fortunes,
Parry Music,
Sad Lovers and Giants,
ABC,
Josef K,
The Music Machine,
The Slackers,
H. Thieme,
The Durutti Column,
Donny Hathaway,
Al Stewart,
Whodini,
Grey Daturas,
Desert Stars,
Brass Construction,
The Gories,
The Happenings,
The Smiths,
The Wake,
Outsiders,
Quantec,
Tubeway Army,
Gregory Isaacs,
Lizzy Mercier Descloux,
Quadrant,
Gichy Dan,
Bobby Byrd,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.