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 Solomon Islands and from Stockholm.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Calgary and Philadelphia.
I'm losing my edge to the art-school Sao Paulo 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 güiro 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 Desert Stars to the crunk kids.
I played it at the Troubador.
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 Joensuu 1685. All the underground hits.
All The United States of America tracks. I heard you have a vinyl of every Lou Reed 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barrington Levy,
Mars,
Moby Grape,
DeepChord presents Echospace,
Al Stewart,
Tomorrow,
Amon Düül,
Oppenheimer Analysis,
Deutsch Amerikanische Freundschaft,
Arab on Radar,
Rites of Spring,
Brick,
Nick Cave & The Bad Seeds,
David McCallum,
Eric Dolphy,
Johnny Osbourne,
JFA,
Manfred Mann's Earth Band,
Franke,
Negative Approach,
Can,
Tubeway Army,
MDC,
Urselle,
Subhumans,
Curtis Mayfield,
Ice-T,
A Flock of Seagulls,
Masters at Work,
Soft Machine,
The Raincoats,
Gastr Del Sol,
Pylon,
Rosa Yemen,
The Cowsills,
The Zeros,
David Bowie,
Lalann,
Niagra,
The Detroit Cobras,
Rotary Connection,
Accadde A,
Yazoo,
Alton Ellis,
Outsiders,
Harpers Bizarre,
Sandy B,
One Last Wish,
Whodini,
This Heat,
Radio Birdman,
Avey Tare & Kría Brekkan,
Lalo Schifrin,
Visage,
Agent Orange,
Q and Not U,
The Slits,
The Trojans,
The Invisible,
Girls At Our Best!,
Roy Ayers,
Kango’s Stein Massive,
10cc,
Neu!, Neu!, Neu!, Neu!.
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.