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 Mauritania and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Toronto.
I'm losing my edge to the art-school Manila 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 marimba 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 Davy DMX to the grime kids.
I played it at the Spitz.
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 Camberwell Now. All the underground hits.
All Simply Red tracks. I heard you have a vinyl of every 48th St. Collective record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
Soul II Soul,
Notorious BIG live in Amsterdam,
Rosa Yemen,
Lizzy Mercier Descloux,
One Last Wish,
Leonard Cohen,
Nation of Ulysses,
Y Pants,
The Doors,
Clear Light,
Joe Smooth,
Ossler,
Bill Near,
Throbbing Gristle,
the Swans,
LL Cool J,
Mark Hollis,
Robert Hood,
Harpers Bizarre,
Crime,
K-Klass,
Reagan Youth,
X-Ray Spex,
Ludus,
Cecil Taylor,
Spoonie Gee,
Deadbeat,
Howard Jones,
Mary Jane Girls,
The Busters,
Kool G Rap & DJ Polo,
CMW,
Gang Green,
Lindisfarne,
Funkadelic,
New Order,
James Chance & The Contortions,
Camberwell Now,
June Days,
The Evens,
Funky Four + One,
Visage,
Derrick May,
Hot Snakes,
Drexciya,
Bobby Hutcherson,
Eric B and Rakim,
Cybotron,
Big Daddy Kane,
Lou Christie,
The Wake,
Angry Samoans,
Bronski Beat,
This Heat,
Dr. Dre and Snoop Doggy Dog,
Harmonia,
Shuggie Otis,
Juan Atkins,
Major Organ And The Adding Machine,
The Modern Lovers,
Spandau Ballet, Spandau Ballet, Spandau Ballet, Spandau Ballet.
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.