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 Dominican Republic and from Delhi.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Houston and Manchester.
I'm losing my edge to the art-school Tehran 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 organ 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 Sly & The Family Stone to the rap kids.
I played it at the Hacienda.
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 Ultra Naté. All the underground hits.
All The Trojans tracks. I heard you have a vinyl of every Prince Buster record on German import.
I heard that you have a white label of every seminal disco 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 harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
Ash Ra Tempel,
Scott Walker,
Morten Harket,
Blossom Toes,
Röyhkä ja Rättö ja Lehtisalo,
Livin' Joy,
The Velvet Underground,
Basic Channel,
Los Fastidios,
Q65,
Boredoms,
The Mojo Men,
Larry & the Blue Notes,
Soft Machine,
Kerrie Biddell,
Wighnomy Brothers & Robag Wruhme,
EPMD,
The Doobie Brothers,
Hot Snakes,
Aloha Tigers,
Scott Walker + Sunn O))),
the Sonics,
The Gladiators,
Wally Richardson,
Skarface,
DNA,
Interpol,
Cluster,
Glenn Branca,
Jeff Mills,
Kas Product,
Cybotron,
Gary Puckett & The Union Gap,
Can,
Darondo,
Surgeon,
Kaleidoscope,
Soul II Soul,
Bauhaus,
Au Pairs,
The Remains,
Beasts of Bourbon,
Cal Tjader,
The Sound,
Minnie Riperton,
The Busters,
ABC,
Babytalk,
Zero Boys,
The Litter,
The Gories,
Goldenarms,
Marshall Jefferson,
The Skatalites,
Bush Tetras,
The Grass Roots,
The Shadows of Knight,
Sun Ra Arkestra,
Skriet,
Pole,
Public Enemy, Public Enemy, Public Enemy, Public Enemy.
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.