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 Palau and from Accra.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Lyon and Seoul.
I'm losing my edge to the art-school Milan 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 organ sounds with much patience.
I was there when Tom Verlaine 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 Bar-Kays to the rap kids.
I played it at the Hacienda.
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 Be Bop Deluxe. All the underground hits.
All Cameo tracks. I heard you have a vinyl of every Nils Olav record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Porter Ricks record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barrington Levy,
Pussy Galore,
Chris & Cosey,
Pet Shop Boys,
Nick Cave & The Bad Seeds,
Black Bananas,
Massinfluence,
The Techniques,
Bobby Womack,
Isaac Hayes,
Stetsasonic,
Minnie Riperton,
Peter & Gordon,
James Chance & The Contortions,
James White and The Blacks,
Second Layer,
The Dirtbombs,
Rekid,
Harry Pussy,
Deepchord,
Andrew Ashong & Theo Parrish,
Yazoo,
Mark Hollis,
Gichy Dan,
The Doobie Brothers,
Throbbing Gristle,
K-Klass,
Juan Atkins,
Erasure,
Brand Nubian,
Peter Gordon & Love of Life Orchestra,
Young Marble Giants,
Glambeats Corp.,
Popol Vuh,
Ornette Coleman,
Roger Hodgson,
Adolescents,
Red Lorry Yellow Lorry,
Gil Scott-Heron & Brian Jackson,
Rod Modell,
Marine Girls,
Vaughan Mason & Crew,
Ultravox,
Deutsch Amerikanische Freundschaft,
Trumans Water,
Fifty Foot Hose,
The New Christs,
Dark Day,
The Stooges,
Yellowson,
Cluster,
Bill Wells,
Robert Görl,
D'Angelo,
It's A Beautiful Day,
Yaz,
Goldenarms,
Jawbox,
Sparks,
Von Mondo,
The Offenders, The Offenders, The Offenders, The Offenders.
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.