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 Guyana and from Lille.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Halifax.
I'm losing my edge to the art-school Portland 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 1976 at the first Wire practice in a loft in Watford.
I was working on the guitar 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 Yazoo to the techno kids.
I played it at the 40 Watt.
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 Robert Görl. All the underground hits.
All Procol Harum tracks. I heard you have a vinyl of every The Techniques 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 a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lalo Schifrin,
New Age Steppers,
Louis and Bebe Barron,
Idris Muhammad,
Swans,
Pete Rock & C.L. Smooth,
Kool Moe Dee,
Outsiders,
Parry Music,
Model 500,
Sixth Finger,
Oppenheimer Analysis,
Newcleus,
Agent Orange,
Eddi Front,
T. Rex,
The New Christs,
The Slits,
Sandy B,
Tubeway Army,
Sällskapet,
Pylon,
Malaria!,
ABC,
Richard Hell and the Voidoids,
Lucky Dragons,
Excepter,
John Coltrane,
The Smoke,
Quando Quango,
Rahsaan Roland Kirk,
Sonic Youth,
The Dirtbombs,
Cecil Taylor,
Don Cherry,
The Evens,
the Soft Cell,
Tropical Tobacco,
Electric Prunes,
The Happenings,
Scratch Acid,
Basic Channel,
Barry Ungar,
Yusef Lateef,
Sight & Sound,
Bush Tetras,
Black Pus,
Bob Dylan,
Shoche,
Main Source,
Gichy Dan,
Deutsch Amerikanische Freundschaft,
Sonny Sharrock,
The Fire Engines,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Crispian St. Peters,
Eric Copeland,
Quantec,
The Victims,
De La Soul & Jungle Brothers,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.