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 Antigua and from Lille.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Glasgow and Delhi.
I'm losing my edge to the art-school Halifax 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 sitar sounds with much patience.
I was there when Tom Verlaine 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 Rosa Yemen 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 Spoonie Gee. All the underground hits.
All The Index tracks. I heard you have a vinyl of every Boz Scaggs 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 '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Richard Hell and the Voidoids,
Magma,
Flipper,
Cal Tjader,
Scott Walker,
B.T. Express,
Al Stewart,
Rakim,
the Sonics,
Big Daddy Kane,
Fort Wilson Riot,
Audionom,
Eden Ahbez,
The Smoke,
Glenn Branca,
Urselle,
Gang Starr,
JFA,
Newcleus,
Kauko Röyhkä ja Narttu,
Eric Copeland,
The Blackbyrds,
Chrome,
Skriet,
Sight & Sound,
The Cure,
Outsiders,
Wolf Eyes,
Wighnomy Brothers & Robag Wruhme,
Absolute Body Control,
cv313,
Marine Girls,
Soulsonic Force,
Bobby Womack,
The Gladiators,
Susan Cadogan,
the Swans,
Scion,
Barclay James Harvest,
The Real Kids,
Funkadelic,
Rufus Thomas,
L. Decosne,
Radio Birdman,
Larry & the Blue Notes,
Subhumans,
Spandau Ballet,
Letta Mbulu,
Schoolly D,
Jerry Gold Smith,
Joensuu 1685,
H. Thieme,
Reuben Wilson,
Jesper Dahlbäck,
Black Moon,
Sonny Sharrock,
Bill Wells,
Sad Lovers and Giants,
Joyce Sims,
Throbbing Gristle, Throbbing Gristle, Throbbing Gristle, Throbbing Gristle.
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.