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 Kiribati and from Bologna.
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 1970.
I'm losing my edge.
To all the kids in Shanghai and Portland.
I'm losing my edge to the art-school Seoul 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 synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Harry Pussy to the jazz 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 Alice Coltrane. All the underground hits.
All Livin' Joy tracks. I heard you have a vinyl of every Bobbi Humphrey 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 '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Section 25 record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dual Sessions,
Arab on Radar,
Simply Red,
Pylon,
Porter Ricks,
Delta 5,
The Blues Magoos,
Lebanon Hanover,
Magma,
Piero Umiliani,
Patti Smith,
Harpers Bizarre,
Fort Wilson Riot,
The West Coast Pop Art Experimental Band,
Archie Shepp,
Pagans,
Arcadia,
Todd Rundgren,
Robert Hood,
Peter and Kerry,
James Chance & The Contortions,
Eric B and Rakim,
Reagan Youth,
Terrestrial Tones,
The Golliwogs,
X-102,
Carl Craig,
Monolake,
Reuben Wilson,
the Fania All-Stars,
Sun City Girls,
Marvin Gaye,
Bobby Womack,
Ultramagnetic MC's,
Pharaoh Sanders and the Fire Engines,
The Gun Club,
Wire,
The Chocolate Watch Band,
Funkadelic,
The Blackbyrds,
James White and The Blacks,
The Alarm Clocks,
Max Romeo,
Circle Jerks,
The Associates,
Lee Hazlewood,
Tears for Fears,
Grauzone,
Soulsonic Force,
cv313,
Faraquet,
Sixth Finger,
China Crisis,
Nik Kershaw,
The Beau Brummels,
Electric Light Orchestra,
Soul Sonic Force,
Symarip,
Agitation Free,
Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity.
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.