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 Ivory Coast and from Copenhagen.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Cairo and Glasgow.
I'm losing my edge to the art-school Glasgow 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 808 sounds with much patience.
I was there when Captain Beefheart 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 Desert Stars to the dance kids.
I played it at Trash.
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 Kool G Rap & DJ Polo. All the underground hits.
All Ludus tracks. I heard you have a vinyl of every The Kinks record on German import.
I heard that you have a white label of every seminal dance 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 marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Model 500 record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Eddi Front,
Lee Hazlewood,
Sexual Harrassment,
Rites of Spring,
Motorama,
Deakin,
Todd Terry,
Organ,
The Slackers,
Siglo XX,
Siouxsie and the Banshees,
The Associates,
Lucky Dragons,
Stockholm Monsters,
The Gun Club,
Ultramagnetic MC's,
Kaleidoscope,
Traffic Nightmare,
The Chocolate Watch Band,
Wolf Eyes,
The Smoke,
Shuggie Otis,
Robert Wyatt,
Monks,
Glambeats Corp.,
Piero Umiliani,
Nico,
Wings,
The Mummies,
Althea and Donna,
The Pop Group,
Das Ding,
Pylon,
David McCallum,
Groovy Waters,
Minny Pops,
Lonnie Liston Smith,
Lou Christie,
The Wake,
Man Parrish,
Be Bop Deluxe,
The Birthday Party,
Tom Boy,
Kauko Röyhkä ja Narttu,
Davy DMX,
The Evens,
The Sonics,
Dorothy Ashby,
Kerri Chandler,
The Dave Clark Five,
La Düsseldorf,
Slave,
Funkadelic,
Manfred Mann's Earth Band,
Crime,
Section 25,
Fad Gadget,
Ornette Coleman,
Amon Düül II,
R.M.O.,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.