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 Sri Lanka and from Mumbai.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1970.
I'm losing my edge.
To all the kids in Glasgow and Copenhagen.
I'm losing my edge to the art-school Philadelphia 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 Agitation Free to the techno 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 the Fania All-Stars. All the underground hits.
All Iggy Pop tracks. I heard you have a vinyl of every the Bar-Kays record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sarah Menescal,
Terrestrial Tones,
The Slackers,
Gang Green,
Rufus Thomas,
La Düsseldorf,
Con Funk Shun,
The Fall,
Soft Machine,
Pylon,
The Dave Clark Five,
Skaos,
the Normal,
Blancmange,
Clear Light,
The Royal Family And The Poor,
Lyres,
The Neon Judgement,
The Doobie Brothers,
Liliput,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Alison Limerick,
Super Lover Cee & Casanova Rud,
The Monks,
John Coltrane,
X-101,
Section 25,
Nik Kershaw,
Spandau Ballet,
Absolute Body Control,
Mark Hollis,
The West Coast Pop Art Experimental Band,
Whodini,
Gang Starr,
Thee Headcoats,
Pere Ubu,
Au Pairs,
Parry Music,
Wire,
The Dead C,
Lou Reed & John Cale,
Blake Baxter,
Rhythm & Sound,
Fifty Foot Hose,
Angry Samoans,
Alphaville,
Fatback Band,
Joe Smooth,
Johnny Clarke,
Tommy Roe,
Little Man,
The Red Krayola,
The Skatalites,
The Blues Magoos,
Unrelated Segments,
Michelle Simonal,
Crime,
Rosa Yemen,
Black Bananas,
DJ Style,
Trumans Water, Trumans Water, Trumans Water, Trumans Water.
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.