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 Salvador.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Milan.
I'm losing my edge to the art-school Beijing 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 Wire practice in a loft in Watford.
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 Minnie Riperton to the punk 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 Ponytail. All the underground hits.
All Dennis Brown tracks. I heard you have a vinyl of every The Velvet Underground record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Absolute Body Control record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
The Slackers,
Fatback Band,
The Star Department,
DeepChord presents Echospace,
Adolescents,
John Cale,
Sixth Finger,
Matthew Halsall,
Saccharine Trust,
Reuben Wilson,
Terrestrial Tones,
Pharoah Sanders,
Terry Callier,
ABBA,
Cal Tjader,
Mad Mike,
Flipper,
Marcia Griffiths,
Camouflage,
The Barracudas,
The Fugs,
Eyeless In Gaza,
Radio Birdman,
Main Source,
Khruangbin,
The United States of America,
Brothers Johnson,
Fela Kuti,
Slick Rick,
The Smoke,
Porter Ricks,
Sad Lovers and Giants,
Royal Trux,
Suburban Knight,
Johnny Clarke,
Underground Resistance,
The Monks,
The Leaves,
Bang on a Can All-Stars,
Steve Hackett,
Throbbing Gristle,
Bad Manners,
Suicide,
Jerry's Kids,
Visionaries,LMNO, T- Love & Iriscience,
Peter & Gordon,
Scott Walker,
Dennis Brown,
Eden Ahbez,
Jesper Dahlbäck,
Barrington Levy,
Jacob Miller,
Vainqueur,
The Sound,
DJ Style,
Stetsasonic,
Rotary Connection,
Magma,
The Victims,
Nils Olav,
Erasure, Erasure, Erasure, Erasure.
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.