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 Macedonia and from Lille.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1969 to 1971.
I'm losing my edge.
To all the kids in Tehran and Woodstock.
I'm losing my edge to the art-school Paris 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 Robert Palmer 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 Prince Buster to the crunk 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 Kayak. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every Rosa Yemen record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Davy DMX record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Music Machine,
Joe Smooth,
Yusef Lateef,
Desert Stars,
X-Ray Spex,
Maleditus Sound,
Fort Wilson Riot,
Archie Shepp,
Crispy Ambulance,
Lafayette Afro Rock Band,
The Mojo Men,
Au Pairs,
AZ,
Ralphi Rosario,
The Walker Brothers,
Heavy D & The Boyz,
Mark Hollis,
The Mighty Diamonds,
Gang Gang Dance,
Angry Samoans,
The Count Five,
Henry Cow,
The Angels of Light,
Average White Band,
The Slackers,
Ken Boothe,
Beasts of Bourbon,
Rakim,
Graham Central Station,
ABC,
Absolute Body Control,
the Bar-Kays,
Fluxion,
Soft Machine,
The Fuzztones,
Jacques Brel,
Althea and Donna,
Fear,
Alton Ellis,
Marvin Gaye,
Dr. Dre and Snoop Doggy Dog,
Electric Light Orchestra,
JFA,
Y Pants,
Fat Boys,
Bill Near,
Icehouse,
Pet Shop Boys,
The Black Dice,
X-101,
Bad Manners,
Roy Ayers Ubiquity,
Lonnie Liston Smith,
the Normal,
Nick Fraelich,
Echo & the Bunnymen,
Tom Boy,
Cecil Taylor,
Qualms,
The Tremeloes,
Robert Wyatt,
Delta 5,
The Wake, The Wake, The Wake, The Wake.
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.