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 Panama 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 1969 to 1972.
I'm losing my edge.
To all the kids in Lille and Philadelphia.
I'm losing my edge to the art-school Winnipeg 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 Soft Boys practice in a loft in Cambridge.
I was working on the 808 sounds with much patience.
I was there when Holger Czukay 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 Jacques Brel to the grime kids.
I played it at the Astoria.
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 Aural Exciters. All the underground hits.
All Skriet tracks. I heard you have a vinyl of every Leonard Cohen record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Radio Birdman record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Fania All-Stars,
Spoonie Gee,
The Detroit Cobras,
Arab on Radar,
Mo-Dettes,
Cal Tjader,
The Tremeloes,
Black Bananas,
Jeru the Damaja,
The Dave Clark Five,
Los Fastidios,
ABBA,
Colin Newman,
Skarface,
Banda Bassotti,
Pharoah Sanders,
Liliput,
Masters at Work,
Johnny Clarke,
Black Sheep,
Marvin Gaye,
Country Teasers,
Lakeside,
Parry Music,
The Vogues,
Pete Rock & C.L. Smooth,
Slave,
Roger Hodgson,
Suicide,
The Gap Band,
Chris Corsano,
Public Enemy,
Juan Atkins,
Lizzy Mercier Descloux,
Patti Smith,
The Smiths,
One Last Wish,
Rowland S Howard / Lydia Lunch,
The Velvet Underground,
Gang of Four,
The Grass Roots,
Bob Dylan,
Deakin,
The Cramps,
The Leaves,
Bobby Womack,
Ice-T,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Al Stewart,
The Wake,
The Moody Blues,
Robert Wyatt,
The Names,
Lebanon Hanover,
Gerry Rafferty,
Robert Görl,
Brick,
Lonnie Liston Smith,
Aural Exciters,
Dorothy Ashby,
DNA, DNA, DNA, DNA.
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.