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 Qatar and from Mexico City.
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 1979.
I'm losing my edge.
To all the kids in Madrid and Cairo.
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 1971 at the first Big Star practice in a loft in Memphis.
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 Sly & The Family Stone to the grunge 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 Stetsasonic. All the underground hits.
All Marcia Griffiths tracks. I heard you have a vinyl of every The Music Machine record on German import.
I heard that you have a white label of every seminal jazz 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 synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Kerri Chandler record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deadbeat,
Bill Wells,
Cameo,
Lakeside,
Robert Wyatt,
Hardrive,
The Vogues,
The Pop Group,
Massinfluence,
Major Organ And The Adding Machine,
Sexual Harrassment,
Lindisfarne,
Red Lorry Yellow Lorry,
Matthew Halsall,
This Heat,
Laurel Aitken,
Larry & the Blue Notes,
Basic Channel,
Tim Buckley,
Bobby Sherman,
Depeche Mode,
Scratch Acid,
Absolute Body Control,
Popol Vuh,
The Birthday Party,
T. Rex,
Gary Puckett & The Union Gap,
Agent Orange,
Symarip,
The Selecter,
Henry Cow,
Wire,
Matthew Bourne,
Eric B and Rakim,
Masters at Work,
Procol Harum,
Sight & Sound,
Man Eating Sloth,
The Slackers,
Deakin,
ABC,
The Gap Band,
the Germs,
Sarah Menescal,
the Normal,
The Busters,
Section 25,
The Kinks,
Cheater Slicks,
CMW,
Shoche,
Ten City,
Essential Logic,
Ronan,
Peter & Gordon,
Nils Olav,
Bad Manners,
Y Pants,
Kaleidoscope,
Ultimate Spinach,
The Music Machine,
Flash Fearless,
The Detroit Cobras, The Detroit Cobras, The Detroit Cobras, The Detroit Cobras.
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.