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 Brunei and from Lyon.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Jakarta and Columbus.
I'm losing my edge to the art-school Beijing 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 1987 at the first Nirvana practice in a loft in Seattle.
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 Grauzone to the punk kids.
I played it at Cafe Wha.
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 Matthew Bourne. All the underground hits.
All Donald Byrd tracks. I heard you have a vinyl of every Yellowson record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
Lalo Schifrin,
Depeche Mode,
Bootsy's Rubber Band,
In Retrospect,
Sonic Youth,
Kool Moe Dee,
The Skatalites,
Second Layer,
Circle Jerks,
Albert Ayler,
Tim Buckley,
Fort Wilson Riot,
Pylon,
Brick,
Buzzcocks,
kango's stein massive,
Kango’s Stein Massive,
B.T. Express,
Crispian St. Peters,
Charles Mingus,
Youth Brigade,
The Mighty Diamonds,
Fifty Foot Hose,
Pere Ubu,
Susan Cadogan,
Archie Shepp,
Franke,
K-Klass,
The Music Machine,
New York Dolls,
Wire,
Lakeside,
Nas,
The Offenders,
Vladislav Delay,
Ten City,
the Association,
Urselle,
Gang Green,
The Wake,
Marc Almond,
Faraquet,
Agitation Free,
The Residents,
The Busters,
Soft Machine,
Teenage Jesus and the Jerks,
Lafayette Afro Rock Band,
Chrome,
Eric B and Rakim,
Gil Scott-Heron and Jamie xx,
Make Up,
The Grass Roots,
The Shadows of Knight,
Todd Terry,
Amon Düül II,
Soul II Soul,
Ponytail,
Deakin,
Gregory Isaacs, Gregory Isaacs, Gregory Isaacs, Gregory Isaacs.
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.