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 Albania and from Seoul.
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 Jakarta and Madrid.
I'm losing my edge to the art-school Toronto 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 Buzzcocks practice in a loft in Bolton.
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 Rosa Yemen to the jazz 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 Black Sheep. All the underground hits.
All L. Decosne tracks. I heard you have a vinyl of every Procol Harum 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 '60s cut and another box set from the '90s.
I hear you're buying a güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Nils Olav 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?
Oblivians,
The Gladiators,
The Angels of Light,
Spoonie Gee,
Deutsch Amerikanische Freundschaft,
Gabor Szabo,
Traffic Nightmare,
Gichy Dan,
Ultramagnetic MC's,
Newcleus,
Janne Schatter,
Radio Birdman,
Public Enemy,
Soft Cell,
Slave,
Massinfluence,
AZ,
Main Source,
Derrick May,
Gastr Del Sol,
The Standells,
Scion,
Sarah Menescal,
Ultra Naté,
Bronski Beat,
Bobby Womack,
Icehouse,
Chris & Cosey,
The Sound,
In Retrospect,
Gil Scott Heron,
Wolf Eyes,
The Smiths,
Ronnie Foster,
kango's stein massive,
Godley & Creme,
Don Cherry,
Peter & Gordon,
Wasted Youth,
Sparks,
Avey Tare's Slasher Flicks,
The Saints,
Ken Boothe,
Andrew Hill,
Super Lover Cee & Casanova Rud,
Bad Manners,
Man Parrish,
Rahsaan Roland Kirk,
Skaos,
Bobbi Humphrey,
Niagra,
The Durutti Column,
Deadbeat,
The Searchers,
Wighnomy Brothers & Robag Wruhme,
Terry Callier,
Idris Muhammad,
The Mummies,
Depeche Mode,
48th St. Collective,
The Men They Couldn't Hang,
Sällskapet,
Rakim,
Ten City, Ten City, Ten City, Ten City.
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.