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 Djibouti and from Manchester.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Accra.
I'm losing my edge to the art-school Halifax 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 808 sounds with much patience.
I was there when Lou Reed 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 Liaisons Dangereuses to the jazz 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 Interpol. All the underground hits.
All Grauzone tracks. I heard you have a vinyl of every Mark Hollis 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 '70s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Talk Talk,
Teenage Jesus and the Jerks,
Clear Light,
Oppenheimer Analysis,
Ultra Naté,
Aswad,
Selector Dub Narcotic,
The Birthday Party,
X-101,
Procol Harum,
Tres Demented,
Drexciya,
Metal Thangz,
Electric Prunes,
Lungfish,
Larry & the Blue Notes,
Black Pus,
Half Japanese,
Brand Nubian,
Blancmange,
Be Bop Deluxe,
Bobby Hutcherson,
Negative Approach,
Camron Feat. Jay Z And Juelz,
Leonard Cohen,
Masters at Work,
Traffic Nightmare,
Hot Snakes,
Camron Feat. Memphis Bleek And Beenie Seigel,
Rhythim Is Rhythim,
Young Marble Giants,
Moebius,
The Happenings,
Robert Hood,
The Real Kids,
the Sonics,
Johnny Clarke,
Siouxsie and the Banshees,
The Invisible,
Eyeless In Gaza,
Echo & the Bunnymen,
Dawn Penn,
Boredoms,
Sarah Menescal,
The Flesh Eaters,
Black Flag,
Loose Ends,
R.M.O.,
Crispian St. Peters,
Terry Callier,
Joe Smooth,
Symarip,
Carl Craig,
Country Teasers,
Peter & Gordon,
Swans,
Pylon,
Saccharine Trust,
the Fania All-Stars,
Sandy B,
Flipper, Flipper, Flipper, Flipper.
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.