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 Andorra and from Shanghai.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1971.
I'm losing my edge.
To all the kids in Tokyo and Philadelphia.
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 mellotron sounds with much patience.
I was there when Robert Palmer 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 Johnny Osbourne to the rap 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 Warsaw. All the underground hits.
All Soulsonic Force tracks. I heard you have a vinyl of every Jesper Dahlbäck record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell record.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear that you and your band have sold your guitar 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?
Henry Cow,
Visage,
DeepChord presents Echospace,
Alton Ellis,
Jeff Lynne,
Roy Ayers,
Marc Romboy vs. Booka Shade,
Deutsch Amerikanische Freundschaft,
Masters at Work,
Wolf Eyes,
The Last Poets,
Ultramagnetic MC's,
Ultimate Spinach,
The Martian,
New Age Steppers,
Vaughan Mason & Crew,
Curtis Mayfield,
Whodini,
Richard Hell and the Voidoids,
Grandmaster Flash and the Furious Five,
Ornette Coleman,
Skriet,
Drexciya,
Todd Terry,
Lalo Schifrin,
Bang on a Can All-Stars,
KRS-One,
Essential Logic,
Youth Brigade,
Sam Rivers,
CMW,
James Chance & The Contortions,
Notorious BIG live in Amsterdam,
8 Eyed Spy,
the Soft Cell,
Jerry Gold Smith,
Goldenarms,
The Tremeloes,
Bluetip,
Brass Construction,
Yazoo,
The Count Five,
Bill Wells,
Nirvana,
Crime,
The Mojo Men,
Eric B and Rakim,
Chrome,
Thompson Twins,
Black Pus,
Nik Kershaw,
Eli Mardock,
Royal Trux,
The Peanut Butter Conspiracy,
Pet Shop Boys,
Motorama,
Black Moon,
Bauhaus,
Ronnie Foster,
Erykah Badu,
Cecil Taylor,
Harmonia,
Deakin,
John Foxx, John Foxx, John Foxx, John Foxx.
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.