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 Spain and from Seoul.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Portland and Accra.
I'm losing my edge to the art-school Glasgow 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the synthesizer 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 The Music Machine 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 Vainqueur. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every The Modern Lovers 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 sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Scrapy record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe 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 Monks,
Gil Scott Heron,
DJ Sneak,
Prince Buster,
Flash Fearless,
Gil Scott-Heron and Jamie xx,
Dual Sessions,
Aaron Thompson,
Lee Hazlewood,
Flipper,
Bauhaus,
Thinking Fellers Union Local 282,
The Electric Prunes,
Bootsy's Rubber Band,
the Germs,
Lyres,
Quando Quango,
The Dave Clark Five,
Chris & Cosey,
Interpol,
Hasil Adkins,
The Dead C,
Bobbi Humphrey,
Andrew Ashong & Theo Parrish,
Soft Machine,
Anthony Braxton,
K-Klass,
Pole,
Roy Ayers,
The Offenders,
The Gun Club,
Q65,
Masters at Work,
Delta 5,
the Normal,
Aural Exciters,
Black Sheep,
The Blackbyrds,
Liaisons Dangereuses,
Tommy Roe,
Nas,
Blake Baxter,
Matthew Halsall,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Scan 7,
Ajijia Myrayebe,
Shoche,
Aloha Tigers,
Monks,
Surgeon,
A Certain Ratio,
Glenn Branca,
The Doobie Brothers,
Bad Manners,
Nik Kershaw,
John Foxx,
Lou Reed & John Cale,
The Durutti Column,
Selector Dub Narcotic,
Massinfluence,
Gabor Szabo, Gabor Szabo, Gabor Szabo, Gabor Szabo.
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.