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 Marshall Islands and from Accra.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1972.
I'm losing my edge.
To all the kids in Shanghai and Bremen.
I'm losing my edge to the art-school Stockholm 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the snare sounds with much patience.
I was there when Michael McDonald 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 Aural Exciters to the electroclash kids.
I played it at the Astoria.
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 Johnny Clarke. All the underground hits.
All KRS-One tracks. I heard you have a vinyl of every Desert Stars record on German import.
I heard that you have a white label of every seminal rock 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 an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a N.O.R.E. Featuring Pharrell record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
John Cale,
Delon & Dalcan,
The Happenings,
Quando Quango,
Marcia Griffiths,
Quantec,
Oblivians,
Kas Product,
Bob Dylan,
Funkadelic,
L. Decosne,
Rotary Connection,
Sonic Youth,
KRS-One,
The Divine Comedy,
Kurtis Blow,
Jesper Dahlbäck,
The Fugs,
T. Rex,
Donny Hathaway,
Soulsonic Force,
Stockholm Monsters,
FM Einheit,
Monolake,
Dennis Brown,
One Last Wish,
Cabaret Voltaire,
Spoonie Gee,
Brick,
Vaughan Mason & Crew,
Duran Duran,
Aloha Tigers,
Joe Finger,
The Barracudas,
Bobby Sherman,
Half Japanese,
Red Lorry Yellow Lorry,
Second Layer,
Gastr Del Sol,
Accadde A,
Bang on a Can All-Stars,
John Foxx,
Bad Manners,
Marshall Jefferson,
Beasts of Bourbon,
Max Romeo,
Terrestrial Tones,
The Men They Couldn't Hang,
The Red Krayola,
Silicon Teens,
The Detroit Cobras,
Jeff Mills,
Fad Gadget,
Mars,
Amon Düül II,
Organ,
Minny Pops,
Lalann,
Rhythim Is Rhythim,
Thompson Twins,
Boogie Down Productions, Boogie Down Productions, Boogie Down Productions, Boogie Down Productions.
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.