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 Qatar and from Beijing.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Manchester and Toronto.
I'm losing my edge to the art-school Delhi 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the 808 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 The Birthday Party to the jazz 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 Mad Mike. All the underground hits.
All Man Eating Sloth tracks. I heard you have a vinyl of every The Slits record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yaz,
Country Teasers,
Ohio Players,
Cybotron,
Depeche Mode,
The Litter,
Black Sheep,
Bronski Beat,
James Chance & The Contortions,
Eric B and Rakim,
DeepChord presents Echospace,
10cc,
Wally Richardson,
Idris Muhammad,
the Soft Cell,
Kerri Chandler,
Röyhkä ja Rättö ja Lehtisalo,
David Axelrod,
MDC,
Funkadelic,
Swell Maps,
Super Lover Cee & Casanova Rud,
Ten City,
Soft Machine,
Supertramp,
The Fire Engines,
Neu!,
Tommy Roe,
Blancmange,
Henry Cow,
Smog,
Notorious Big And Bone Thugs,
The Stooges,
Vainqueur,
Loose Ends,
Crooked Eye,
Sam Rivers,
FM Einheit,
Basic Channel,
Pulsallama,
Mo-Dettes,
Byron Stingily,
Jerry Gold Smith,
Crime,
Kool G Rap & DJ Polo,
Spoonie Gee,
Roger Hodgson,
Stockholm Monsters,
London Community Gospel Choir,
Khruangbin,
Niagra,
Clear Light,
Au Pairs,
Bill Wells,
Scrapy,
Angels of Light & Akron/Family,
Urselle,
Skriet,
Reagan Youth,
Archie Shepp,
Traffic Nightmare,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.