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 Guinea-Bissau and from Milan.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Bremen and Bremen.
I'm losing my edge to the art-school Bremen 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 clarinet sounds with much patience.
I was there when Tom Verlaine 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 Fugs to the techno kids.
I played it at the Troubador.
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 Main Source. All the underground hits.
All Visage tracks. I heard you have a vinyl of every Stetsasonic record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Flipper record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maleditus Sound,
Pussy Galore,
Minny Pops,
Barclay James Harvest,
Gil Scott-Heron and Jamie xx,
Marshall Jefferson,
Sunsets and Hearts,
Country Teasers,
Quadrant,
Rhythim Is Rhythim,
Magazine,
The Dave Clark Five,
Henry Cow,
Subhumans,
Rhythm & Sound,
Television Personalities,
Mars,
Half Japanese,
Kayak,
Inner City,
Iggy Pop,
John Lydon,
Faust,
The Mojo Men,
Whodini,
Sandy B,
Bootsy's Rubber Band,
Sun Ra Arkestra,
Mark Hollis,
Swell Maps,
Wire,
Aswad,
Stereo Dub,
Kango’s Stein Massive,
Lafayette Afro Rock Band,
John Coltrane,
The Doobie Brothers,
Gil Scott-Heron & Brian Jackson,
Bill Wells,
Jerry's Kids,
The Royal Family And The Poor,
Lower 48,
Animal Collective,
Johnny Clarke,
Isaac Hayes,
T.S.O.L.,
Lee Hazlewood,
Ken Boothe,
Essential Logic,
Sister Nancy,
Gil Scott Heron,
Visionaries,LMNO, T- Love & Iriscience,
The Wake,
Buzzcocks,
Scion,
Panda Bear,
DNA,
Kevin Saunderson,
Reuben Wilson,
R.M.O.,
Curtis Mayfield,
Chris & Cosey,
Bill Near,
Captain Beefheart & His Magic Band, Captain Beefheart & His Magic Band, Captain Beefheart & His Magic Band, Captain Beefheart & His Magic Band.
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.