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 Korea South and from Houston.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Columbus and London.
I'm losing my edge to the art-school Sao Paulo 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 snare sounds with much patience.
I was there when Robert Palmer 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 Mighty Diamonds to the funk 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 Anthony Braxton. All the underground hits.
All Wire tracks. I heard you have a vinyl of every Orchestral Manoeuvres in the Dark 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 '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Girls At Our Best! record.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Major Organ And The Adding Machine,
Hasil Adkins,
Crispian St. Peters,
Susan Cadogan,
Bobby Byrd,
DeepChord presents Echospace,
Marcia Griffiths,
Joe Smooth,
Scan 7,
Gil Scott-Heron and Jamie xx,
Rekid,
The Human League,
Erasure,
Jerry's Kids,
Ten City,
Hoover,
the Slits,
Television Personalities,
Archie Shepp,
Barry Ungar,
Deadbeat,
X-Ray Spex,
Ituana,
Camron Feat. Memphis Bleek And Beenie Seigel,
Skaos,
Flash Fearless,
Soul Sonic Force,
Ash Ra Tempel,
London Community Gospel Choir,
Minnie Riperton,
Jerry Gold Smith,
Soft Cell,
ABBA,
Motorama,
The Remains,
Minutemen,
Moss Icon,
Judy Mowatt,
The Flesh Eaters,
Radiohead,
Television,
Con Funk Shun,
The Moody Blues,
Swans,
Thompson Twins,
Henry Cow,
The Victims,
Eric Dolphy,
The Zeros,
Reuben Wilson,
H. Thieme,
Bizarre Inc.,
Soul II Soul,
Grey Daturas,
Notorious BIG live in Amsterdam,
Notorious Big And Bone Thugs,
Monolake,
Spoonie Gee,
Country Teasers,
Bob Dylan, Bob Dylan, Bob Dylan, Bob Dylan.
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.