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 Jamaica and from Bologna.
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 1974.
I'm losing my edge.
To all the kids in Philadelphia and Johannesburg.
I'm losing my edge to the art-school Johannesburg 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 at the first Suicide 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 Barry Ungar to the rap 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 Nation of Ulysses. All the underground hits.
All Kenny Larkin tracks. I heard you have a vinyl of every Dark Day record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
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 Spandau Ballet record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül II,
Vainqueur,
Pantaleimon,
Boogie Down Productions,
Dark Day,
Dorothy Ashby,
Johnny Clarke,
Grey Daturas,
Alphaville,
Y Pants,
Basic Channel,
Smog,
Groovy Waters,
De La Soul & Jungle Brothers,
The Index,
Reuben Wilson,
Kings Of Tomorrow,
Scratch Acid,
Godley & Creme,
The Mummies,
X-101,
Thompson Twins,
Hasil Adkins,
Minny Pops,
Grauzone,
Parry Music,
The Moody Blues,
The Blackbyrds,
The Move,
Sugar Minott,
Con Funk Shun,
The Flesh Eaters,
Niagra,
Gang Starr,
Gabor Szabo,
Quadrant,
Fela Kuti,
Little Man,
Lalo Schifrin,
Unrelated Segments,
Reagan Youth,
Pere Ubu,
Marcia Griffiths,
R.M.O.,
Minor Threat,
Shuggie Otis,
Kango’s Stein Massive,
Scrapy,
Fad Gadget,
Brothers Johnson,
The Velvet Underground,
John Holt,
Soft Machine,
Jeru the Damaja,
The Modern Lovers,
Tommy Roe,
Hardrive,
Larry & the Blue Notes,
Agitation Free,
Wally Richardson,
Pylon, Pylon, Pylon, Pylon.
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.