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 South Africa and from Hong Kong.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1972.
I'm losing my edge.
To all the kids in Bremen and Columbus.
I'm losing my edge to the art-school Stockholm 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 oboe 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 Can to the grime 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 Carl Craig. All the underground hits.
All The Electric Prunes tracks. I heard you have a vinyl of every Eric Dolphy 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 '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Alice Coltrane record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eurythmics,
Vladislav Delay,
Selector Dub Narcotic,
Eve St. Jones,
Technova,
The Remains,
Sister Nancy,
Metal Thangz,
The Fall,
The Standells,
Stiv Bators,
Vaughan Mason & Crew,
Erasure,
Wolf Eyes,
Heaven 17,
Manfred Mann's Earth Band,
T.S.O.L.,
Kaleidoscope,
Wally Richardson,
Josef K,
Faraquet,
The Index,
Babytalk,
New Age Steppers,
Radiopuhelimet,
Juan Atkins,
The Gun Club,
The Slackers,
Joe Finger,
Sight & Sound,
Half Japanese,
Moby Grape,
Public Enemy,
Depeche Mode,
The Wake,
Mad Mike,
Pharoah Sanders,
Monolake,
Gabor Szabo,
Todd Terry,
The New Christs,
Ossler,
Gong,
Kurtis Blow,
X-102,
The Names,
Sarah Menescal,
Simply Red,
Bauhaus,
Gichy Dan,
Sun Ra Arkestra,
B.T. Express,
Tropical Tobacco,
Minnie Riperton,
Ultra Naté,
Soulsonic Force,
Alison Limerick,
Lou Reed & John Cale,
Isaac Hayes,
Fort Wilson Riot,
Talk Talk,
Banda Bassotti,
John Holt, John Holt, John Holt, John Holt.
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.