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 Ghana and from Lagos.
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 1976.
I'm losing my edge.
To all the kids in Spokane and Woodstock.
I'm losing my edge to the art-school Delhi 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 OOIOO 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 Amon Düül. All the underground hits.
All The Mighty Diamonds tracks. I heard you have a vinyl of every Pole record on German import.
I heard that you have a white label of every seminal dance 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 oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Warsaw record.
I hear that you and your band have sold your guitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Style,
Stockholm Monsters,
Glambeats Corp.,
Wally Richardson,
David Axelrod,
Nirvana,
Shuggie Otis,
Bizarre Inc.,
The Blackbyrds,
Arthur Verocai,
Cluster,
The West Coast Pop Art Experimental Band,
Pete Rock & C.L. Smooth,
Arab on Radar,
The Durutti Column,
Franke,
Danielle Patucci,
Ludus,
Second Layer,
Scan 7,
Sugar Minott,
Byron Stingily,
Barry Ungar,
Gregory Isaacs,
Dr. Dre and Snoop Doggy Dog,
R.M.O.,
Soul II Soul,
Bootsy Collins,
Andrew Hill,
Main Source,
Stiv Bators,
Godley & Creme,
Robert Hood,
The Selecter,
AZ,
Deadbeat,
Circle Jerks,
Duran Duran,
The Flesh Eaters,
Eddi Front,
Talk Talk,
Henry Cow,
Dave Gahan,
Red Lorry Yellow Lorry,
The Motions,
The Smiths,
Simply Red,
Nils Olav,
The Angels of Light,
The Residents,
Mo-Dettes,
Yaz,
Public Image Ltd.,
Neu!,
Bobby Byrd,
Alison Limerick,
Todd Rundgren,
Sonny Sharrock,
the Slits,
Skriet,
Wasted Youth,
Lalann,
Severed Heads,
Joey Negro, Joey Negro, Joey Negro, Joey Negro.
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.