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 Samoa and from New York.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Lagos and Philadelphia.
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 1978 at the first Visage practice in a loft in London.
I was working on the güiro sounds with much patience.
I was there when Lou Reed 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 Freddie Wadling to the grunge kids.
I played it at the Hacienda.
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 Lou Reed. All the underground hits.
All Roy Ayers tracks. I heard you have a vinyl of every Soul Sonic Force record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash and the Furious Five,
Boogie Down Productions,
Neil Young,
Khruangbin,
The Men They Couldn't Hang,
The Standells,
Henry Cow,
Tommy Roe,
The Durutti Column,
Alton Ellis,
Jeff Lynne,
Pantytec,
The American Breed,
This Heat,
Ten City,
The Happenings,
Warsaw,
D'Angelo,
Lakeside,
Sunsets and Hearts,
Curtis Mayfield,
Archie Shepp,
Girls At Our Best!,
Richard Hell and the Voidoids,
Model 500,
Grauzone,
Pussy Galore,
Agent Orange,
The Detroit Cobras,
Kool G Rap & DJ Polo,
Pulsallama,
Adolescents,
The Five Americans,
DJ Style,
Flamin' Groovies,
Bizarre Inc.,
Todd Terry,
The Gun Club,
The Gladiators,
Lyres,
the Association,
the Bar-Kays,
Susan Cadogan,
Lucky Dragons,
Rapeman,
Oneida,
Ituana,
Röyhkä ja Rättö ja Lehtisalo,
Althea and Donna,
Ludus,
Porter Ricks,
Arthur Verocai,
Public Image Ltd.,
Louis and Bebe Barron,
Soul II Soul,
Deutsch Amerikanische Freundschaft,
John Holt,
Lee Hazlewood,
John Lydon,
David Axelrod,
These Immortal Souls,
Wally Richardson, Wally Richardson, Wally Richardson, Wally Richardson.
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.