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 Antigua and from Salvador.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1974.
I'm losing my edge.
To all the kids in Shanghai and Stockholm.
I'm losing my edge to the art-school Lagos 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 sitar sounds with much patience.
I was there when Robert Palmer 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 Tomorrow to the crunk 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 Cymande. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every Jimmy McGriff record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Standells,
Strawberry Alarm Clock,
Das Ding,
Funkadelic,
Sonny Sharrock,
Con Funk Shun,
Amazonics,
Ossler,
Marmalade,
Accadde A,
Oblivians,
Leonard Cohen,
Spandau Ballet,
Massinfluence,
Blancmange,
Q and Not U,
Chris & Cosey,
Buzzcocks,
Gastr Del Sol,
David Axelrod,
Dorothy Ashby,
The Zeros,
One Last Wish,
Arcadia,
Lonnie Liston Smith,
Sad Lovers and Giants,
the Human League,
Roxy Music,
Flash Fearless,
Soulsonic Force,
Throbbing Gristle,
Visionaries,LMNO, T- Love & Iriscience,
Wire,
Spoonie Gee,
Bush Tetras,
The Cosmic Jokers,
Joyce Sims,
Isaac Hayes,
Robert Wyatt,
Fela Kuti,
Fifty Foot Hose,
Ultravox,
Scott Walker,
The Detroit Cobras,
The Knickerbockers,
Bobby Sherman,
Sun Ra Arkestra,
Ice-T,
Anthony Braxton,
Johnny Osbourne,
Tropical Tobacco,
the Slits,
the Bar-Kays,
Jesper Dahlback,
Severed Heads,
Yazoo,
Zapp,
Dead Boys,
Gerry Rafferty,
Avey Tare's Slasher Flicks,
John Lydon,
The Star Department,
The Index, The Index, The Index, The Index.
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.