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 Austria and from Manila.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Milan and Stockholm.
I'm losing my edge to the art-school Seoul 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 harpsichord sounds with much patience.
I was there when Captain Beefheart 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 Nico to the disco 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 David Bowie. All the underground hits.
All Black Sheep tracks. I heard you have a vinyl of every Pylon record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a a-ha record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lalo Schifrin,
Popol Vuh,
48th St. Collective,
Mad Mike,
Brass Construction,
Swell Maps,
Black Pus,
Metal Thangz,
Hot Snakes,
DJ Style,
Tears for Fears,
James Chance & The Contortions,
Reuben Wilson,
Sad Lovers and Giants,
Liaisons Dangereuses,
Marshall Jefferson,
Rahsaan Roland Kirk,
Big Daddy Kane,
Ten City,
Organ,
Drive Like Jehu,
cv313,
The Kinks,
Ohio Players,
Wally Richardson,
Pylon,
Kaleidoscope,
X-Ray Spex,
Chrome,
Livin' Joy,
The Red Krayola,
The Sisters of Mercy,
Notorious Big And Bone Thugs,
Ken Boothe,
UT,
X-102,
Desert Stars,
X-101,
Amon Düül II,
The Count Five,
Schoolly D,
Can,
Second Layer,
Brick,
Kerri Chandler,
World's Most,
Grandmaster Flash,
Traffic Nightmare,
L. Decosne,
The Chocolate Watch Band,
Brothers Johnson,
The Barracudas,
Dead Boys,
The Motions,
Easy Going,
Oblivians,
The Associates,
DJ Sneak,
Pantaleimon,
Eyeless In Gaza,
Prince Buster,
Warren Ellis, Warren Ellis, Warren Ellis, Warren Ellis.
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.