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 Australia and from Columbus.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Portland.
I'm losing my edge to the art-school Columbus 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 Michael McDonald 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 Scratch Acid to the electroclash kids.
I played it at Trash.
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 Scratch Acid. All the underground hits.
All Pharaoh Sanders and the Fire Engines tracks. I heard you have a vinyl of every Minor Threat record on German import.
I heard that you have a white label of every seminal techno 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 chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mummies,
Ralphi Rosario,
kango's stein massive,
Brand Nubian,
Arcadia,
The Last Poets,
Notorious BIG live in Amsterdam,
Jesper Dahlback,
James White and The Blacks,
Desert Stars,
The Cowsills,
8 Eyed Spy,
Bill Near,
The Busters,
Theoretical Girls,
The Tremeloes,
The Zeros,
Metal Thangz,
Todd Rundgren,
Popol Vuh,
Jacques Brel,
Patti Smith,
Grandmaster Flash,
Neil Young & Crazy Horse,
Tres Demented,
Sunsets and Hearts,
Stetsasonic,
Max Romeo,
Qualms,
The Gladiators,
Terrestrial Tones,
Gang Gang Dance,
Throbbing Gristle,
the Bar-Kays,
Barclay James Harvest,
David Axelrod,
Eden Ahbez,
Lee Hazlewood,
Simply Red,
Althea and Donna,
EPMD,
Sparks,
Barrington Levy,
Soulsonic Force,
Lou Reed & John Cale,
Liliput,
Spandau Ballet,
Andrew Hill,
One Last Wish,
Funkadelic,
The Slits,
The Music Machine,
Lou Reed,
the Normal,
Faust,
James Chance & The Contortions,
Crooked Eye,
Rites of Spring,
Fifty Foot Hose,
World's Most,
Pharoah Sanders,
Erykah Badu,
Graham Central Station,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.