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 Comoros and from London.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Delhi and Madrid.
I'm losing my edge to the art-school Cairo 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 chamberlin 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 The Litter to the disco 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 Teenage Jesus and the Jerks. All the underground hits.
All Desert Stars tracks. I heard you have a vinyl of every Faraquet record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harpers Bizarre,
Hashim,
Wighnomy Brothers & Robag Wruhme,
Blake Baxter,
Dark Day,
Thinking Fellers Union Local 282,
E-Dancer,
Ponytail,
Colin Newman,
Stereo Dub,
Peter Gordon & Love of Life Orchestra,
Scrapy,
Essential Logic,
Delon & Dalcan,
Faraquet,
Yusef Lateef,
Lou Reed,
Rahsaan Roland Kirk,
Public Enemy,
Saccharine Trust,
Public Image Ltd.,
Black Flag,
Flipper,
Alton Ellis,
Anthony Braxton,
The Chocolate Watch Band,
Severed Heads,
Jerry Gold Smith,
Moebius,
Loose Ends,
MC5,
Sight & Sound,
The Cramps,
The Walker Brothers,
Roxy Music,
Hoover,
the Slits,
Eric B and Rakim,
Sunsets and Hearts,
Trumans Water,
D'Angelo,
La Düsseldorf,
Nas,
James White and The Blacks,
Skriet,
LL Cool J,
Orchestral Manoeuvres in the Dark,
Barbara Tucker,
Desert Stars,
Pete Rock & C.L. Smooth,
Eden Ahbez,
Pharoah Sanders,
Visage,
Jeff Mills,
K-Klass,
Nation of Ulysses,
Soul Sonic Force,
Sandy B,
Pulsallama,
Neil Young,
The Knickerbockers,
Camberwell Now,
Camouflage, Camouflage, Camouflage, Camouflage.
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.