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 Liberia and from Hong Kong.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1966 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Bremen.
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 organ sounds with much patience.
I was there when David Bowie 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 grime kids.
I played it at the Crocodile.
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 Rapeman. All the underground hits.
All Scientists tracks. I heard you have a vinyl of every The Pretty Things 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 '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Au Pairs record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
Faust,
Clear Light,
Pharaoh Sanders and the Fire Engines,
The Black Dice,
The Victims,
Bobby Sherman,
Sister Nancy,
The Cowsills,
Sam Rivers,
Nation of Ulysses,
Interpol,
Kango’s Stein Massive,
Mo-Dettes,
Alison Limerick,
Mandrill,
Deepchord,
Unwound,
the Normal,
Siouxsie and the Banshees,
Pulsallama,
Glambeats Corp.,
Motorama,
ABC,
Roy Ayers,
Jacques Brel,
Fad Gadget,
the Soft Cell,
Malaria!,
Donald Byrd,
Joe Smooth,
Young Marble Giants,
The Alarm Clocks,
Jacob Miller,
Unrelated Segments,
The Shadows of Knight,
MDC,
The Five Americans,
Radio Birdman,
The West Coast Pop Art Experimental Band,
Rosa Yemen,
Peter & Gordon,
Lebanon Hanover,
Basic Channel,
Robert Hood,
Super Lover Cee & Casanova Rud,
Gang Starr,
L. Decosne,
The Trojans,
Maleditus Sound,
Boz Scaggs,
Bob Dylan,
Thompson Twins,
Scan 7,
Marvin Gaye,
The Zeros,
Peter Gordon & Love of Life Orchestra,
Tres Demented,
Gang Gang Dance,
The Angels of Light,
FM Einheit,
Altered Images,
Byron Stingily,
Eddi Front, Eddi Front, Eddi Front, Eddi Front.
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.