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 Sri Lanka and from Tokyo.
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 1972.
I'm losing my edge.
To all the kids in Bologna and Beijing.
I'm losing my edge to the art-school Mexico City 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 rhodes 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 Kayak to the disco kids.
I played it at CBGB's.
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 Tres Demented. All the underground hits.
All Jimmy McGriff tracks. I heard you have a vinyl of every Kurtis Blow 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 '80s.
I hear you're buying a spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Alphaville record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Terry,
Ash Ra Tempel,
The Kinks,
Throbbing Gristle,
Visage,
Teenage Jesus and the Jerks,
Scott Walker,
Scott Walker + Sunn O))),
MC5,
Spandau Ballet,
KRS-One,
Charles Mingus,
Dennis Brown,
Connie Case,
David Bowie,
Anakelly,
Ultramagnetic MC's,
Derrick May,
John Holt,
Deutsch Amerikanische Freundschaft,
The Toasters,
Simply Red,
Oppenheimer Analysis,
Sugar Minott,
Gil Scott-Heron and Jamie xx,
Los Fastidios,
Andrew Hill,
Pharoah Sanders,
Ronnie Foster,
Parry Music,
Camouflage,
The Grass Roots,
Toni Rubio,
Rakim,
The Black Dice,
Scratch Acid,
Absolute Body Control,
Gang Gang Dance,
Q65,
Cecil Taylor,
Spoonie Gee,
The Sonics,
Soul II Soul,
Peter & Gordon,
Joey Negro,
Brass Construction,
Thee Headcoats,
Aural Exciters,
Rites of Spring,
Graham Central Station,
Black Pus,
Sad Lovers and Giants,
Lightning Bolt,
The Gories,
Hasil Adkins,
Bang on a Can All-Stars,
Susan Cadogan,
Fifty Foot Hose,
Pantytec,
Ten City,
The Gap Band,
Derrick Morgan, Derrick Morgan, Derrick Morgan, Derrick Morgan.
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.