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 Mali and from Paris.
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 1971.
I'm losing my edge.
To all the kids in Lagos and Taipei.
I'm losing my edge to the art-school Salvador 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 10cc to the electroclash kids.
I played it at the Astoria.
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 Bad Manners. All the underground hits.
All Gang Starr tracks. I heard you have a vinyl of every Ultravox 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 '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Ken Boothe record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wighnomy Brothers & Robag Wruhme,
the Association,
Suburban Knight,
Stereo Dub,
Bush Tetras,
The Zeros,
Ossler,
The Flesh Eaters,
The Skatalites,
The Mighty Diamonds,
Alice Coltrane,
John Coltrane,
Can,
Agent Orange,
Masters at Work,
The Neon Judgement,
Bootsy's Rubber Band,
the Slits,
the Swans,
Motorama,
The Names,
Moebius,
Pantytec,
Larry & the Blue Notes,
Ralphi Rosario,
Spandau Ballet,
The Detroit Cobras,
The Grass Roots,
X-102,
Index,
Royal Trux,
Kas Product,
Cybotron,
Sticky Fingaz feat. Raekwon,
Lafayette Afro Rock Band,
Magma,
The Knickerbockers,
Echo & the Bunnymen,
The Martian,
Steve Hackett,
B.T. Express,
Half Japanese,
Marc Almond,
The Durutti Column,
Radio Birdman,
Faraquet,
Ornette Coleman,
Parry Music,
Quando Quango,
Babytalk,
Fad Gadget,
Prince Buster,
PIL,
A Flock of Seagulls,
Amon Düül II,
Pantaleimon,
Marcia Griffiths,
The Gories,
Camberwell Now,
Roger Hodgson,
Glambeats Corp.,
Josef K,
Roxy Music,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.