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 Mauritania and from Manila.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Columbus and Toronto.
I'm losing my edge to the art-school Mumbai 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 808 sounds with much patience.
I was there when David Bowie 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 Simply Red to the disco kids.
I played it at the 40 Watt.
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 David Bowie. All the underground hits.
All Harry Pussy tracks. I heard you have a vinyl of every Johnny Clarke record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Oneida record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Toasters,
Fort Wilson Riot,
Deutsch Amerikanische Freundschaft,
The Slits,
Stiv Bators,
Eric Dolphy,
These Immortal Souls,
Terry Callier,
X-102,
Masters at Work,
The Skatalites,
Model 500,
Infiniti,
Terrestrial Tones,
The Cure,
Yaz,
Inner City,
Das Ding,
Stockholm Monsters,
Tubeway Army,
The Angels of Light,
Silicon Teens,
Radio Birdman,
Harmonia,
The Remains,
Eurythmics,
The Leaves,
Rekid,
8 Eyed Spy,
Thinking Fellers Union Local 282,
The Electric Prunes,
It's A Beautiful Day,
Kayak,
Marc Romboy vs. Booka Shade,
Pharoah Sanders,
Eric Copeland,
Roxy Music,
Arcadia,
Nick Cave & The Bad Seeds,
10cc,
The Detroit Cobras,
Heaven 17,
Maleditus Sound,
Dawn Penn,
kango's stein massive,
Sad Lovers and Giants,
Brand Nubian,
Joyce Sims,
Radiopuhelimet,
Trumans Water,
Average White Band,
Eve St. Jones,
Kas Product,
Camron Feat. Jay Z And Juelz,
cv313,
Delta 5,
Blake Baxter,
Rhythim Is Rhythim,
June of 44,
Dorothy Ashby,
Angry Samoans,
Black Pus,
Godley & Creme,
Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx.
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.