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 Oman and from Manchester.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Seoul and Lagos.
I'm losing my edge to the art-school Jakarta 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 Chic practice in a loft in New York.
I was working on the linndrum sounds with much patience.
I was there when Holger Czukay 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 Pantaleimon to the funk kids.
I played it at the Roxy.
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 the Soft Cell. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Wighnomy Brothers & Robag Wruhme 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 '70s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Parry Music record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ossler,
Spoonie Gee,
Anakelly,
Talk Talk,
Chrome,
Marc Almond,
The Remains,
The Gun Club,
U.S. Maple,
Mr. Review,
Sad Lovers and Giants,
Albert Ayler,
Kaleidoscope,
Nas,
Black Moon,
The Standells,
New York Dolls,
Gil Scott-Heron and Jamie xx,
OOIOO,
Bobby Hutcherson,
New Age Steppers,
Wighnomy Brothers & Robag Wruhme,
Ultramagnetic MC's,
Ornette Coleman,
X-Ray Spex,
D'Angelo,
Ponytail,
Ludus,
Depeche Mode,
Nils Olav,
The Fire Engines,
Subhumans,
Oblivians,
Rapeman,
Camron Feat. Memphis Bleek And Beenie Seigel,
Mission of Burma,
The Evens,
Grauzone,
Bill Wells,
Franke,
Iggy Pop,
Model 500,
Donny Hathaway,
Quando Quango,
The Monks,
Echo & the Bunnymen,
Tim Buckley,
Ultimate Spinach,
Parry Music,
Faust,
Dr. Dre and Snoop Doggy Dog,
Fear,
Aloha Tigers,
Alice Coltrane,
The Five Americans,
Black Pus,
Steve Hackett,
John Coltrane,
Grey Daturas,
R.M.O.,
Pet Shop Boys,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.