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 Kazakhstan and from Manchester.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Houston and Bologna.
I'm losing my edge to the art-school Woodstock 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the sitar sounds with much patience.
I was there when Tom Verlaine 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 Rhythm & Sound to the grime kids.
I played it at CBGB's.
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 Little Man. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Strawberry Alarm Clock record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Sex Pistols record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aloha Tigers,
Drexciya,
Selector Dub Narcotic,
Sad Lovers and Giants,
Juan Atkins,
Peter Gordon & Love of Life Orchestra,
Ken Boothe,
Rod Modell,
Bootsy's Rubber Band,
Cymande,
Teenage Jesus and the Jerks,
Max Romeo,
The Smiths,
Kaleidoscope,
D'Angelo,
The Music Machine,
Guru Guru,
The Dave Clark Five,
Smog,
Crooked Eye,
The Victims,
Tubeway Army,
10cc,
LL Cool J,
Eve St. Jones,
Au Pairs,
Toni Rubio,
Ornette Coleman,
Judy Mowatt,
Das Ding,
Kurtis Blow,
Youth Brigade,
Eric Dolphy,
Mars,
Franke,
Audionom,
Clear Light,
Erykah Badu,
OOIOO,
Sugar Minott,
World's Most,
The Last Poets,
Joe Finger,
The Names,
Dennis Brown,
Cybotron,
The Smoke,
Surgeon,
Jerry's Kids,
Lightning Bolt,
Rhythim Is Rhythim,
Quadrant,
Metal Thangz,
48th St. Collective,
The Durutti Column,
Soulsonic Force,
Animal Collective,
Technova,
The Jesus and Mary Chain,
Camron Feat. Memphis Bleek And Beenie Seigel,
Iggy Pop,
Bush Tetras,
Echospace,
The Evens, The Evens, The Evens, The Evens.
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.