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 Nicaragua and from Beijing.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Cairo and Stockholm.
I'm losing my edge to the art-school New York 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the chamberlin 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 Flash Fearless to the techno kids.
I played it at the Astoria.
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 Carl Craig. All the underground hits.
All Crispy Ambulance tracks. I heard you have a vinyl of every Make Up record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Bowie,
Heavy D & The Boyz,
The Gap Band,
Janne Schatter,
The Zeros,
Joe Finger,
AZ,
Drive Like Jehu,
X-101,
The Last Poets,
Mad Mike,
Can,
The J.B.'s,
Spandau Ballet,
Robert Wyatt,
In Retrospect,
Matthew Halsall,
Freddie Wadling,
The Monochrome Set,
Minny Pops,
Shuggie Otis,
Crash Course in Science,
Excepter,
K-Klass,
CMW,
The Invisible,
Au Pairs,
Khruangbin,
Joey Negro,
Marvin Gaye,
ABC,
Talk Talk,
June Days,
Liaisons Dangereuses,
Television Personalities,
Groovy Waters,
Nils Olav,
The Black Dice,
Alison Limerick,
The Trojans,
Audionom,
Ultra Naté,
Kevin Saunderson,
The Cure,
Nick Cave & The Bad Seeds,
Little Man,
Ossler,
Gil Scott Heron,
Eric Copeland,
Gary Puckett & The Union Gap,
Prince Buster,
Eli Mardock,
Richard Hell and the Voidoids,
EPMD,
Marc Almond,
The Star Department,
Technova,
Banda Bassotti,
Tim Buckley,
B.T. Express,
X-Ray Spex,
Symarip, Symarip, Symarip, Symarip.
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.