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 Kenya and from London.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Bologna and Halifax.
I'm losing my edge to the art-school Sao Paulo 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 rhodes 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 Shuggie Otis to the punk 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 Susan Cadogan. All the underground hits.
All Yusef Lateef tracks. I heard you have a vinyl of every Ralphi Rosario record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Mary Jane Girls record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
Amazonics,
Barclay James Harvest,
The Fuzztones,
La Düsseldorf,
New York Dolls,
Metal Thangz,
ABBA,
Faust,
Masters at Work,
Interpol,
Davy DMX,
Goldenarms,
The Associates,
Sonny Sharrock,
Brand Nubian,
AZ,
The Electric Prunes,
Minny Pops,
Echospace,
Mo-Dettes,
Wasted Youth,
Pete Rock & C.L. Smooth,
The Detroit Cobras,
Lee Hazlewood,
Sam Rivers,
Moby Grape,
Index,
Wally Richardson,
Ajijia Myrayebe,
Symarip,
Derrick Morgan,
Vainqueur,
Procol Harum,
Agent Orange,
Terrestrial Tones,
David Bowie,
Essential Logic,
Gong,
Peter and Kerry,
Gang Gang Dance,
Bronski Beat,
The Offenders,
Schoolly D,
Can,
Skriet,
The Zeros,
Lalann,
Arcadia,
The Durutti Column,
Freddie Wadling,
Brothers Johnson,
Half Japanese,
Throbbing Gristle,
Wighnomy Brothers & Robag Wruhme,
Skaos,
Leonard Cohen,
Clear Light,
The Real Kids,
Max Romeo,
Qualms,
Swell Maps, Swell Maps, Swell Maps, Swell Maps.
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.