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 Eritrea and from Bremen.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Toronto.
I'm losing my edge to the art-school Lagos 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 oboe 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 Larry & the Blue Notes to the crunk kids.
I played it at Trash.
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 Jesper Dahlback. All the underground hits.
All Thompson Twins tracks. I heard you have a vinyl of every Scan 7 record on German import.
I heard that you have a white label of every seminal rap 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 a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Absolute Body Control,
Oneida,
Marmalade,
The Gun Club,
Wings,
U.S. Maple,
Quadrant,
The Dead C,
Crime,
The Slackers,
Minutemen,
Pole,
Gang of Four,
Japan,
Rufus Thomas,
Marc Almond,
Au Pairs,
The Velvet Underground,
Easy Going,
Public Image Ltd.,
Nirvana,
Cymande,
Robert Hood,
Dawn Penn,
John Lydon,
Oppenheimer Analysis,
FM Einheit,
Sonny Sharrock,
Ronan,
Todd Rundgren,
The Knickerbockers,
Boogie Down Productions,
the Slits,
Ken Boothe,
Gil Scott-Heron & Brian Jackson,
LL Cool J,
Brass Construction,
Jerry's Kids,
Andrew Ashong & Theo Parrish,
Rod Modell,
L. Decosne,
Blancmange,
Banda Bassotti,
The Black Dice,
Public Enemy,
The Jesus and Mary Chain,
Roy Ayers Ubiquity,
Gang Starr,
Country Teasers,
Ralphi Rosario,
Flamin' Groovies,
Ultramagnetic MC's,
Thinking Fellers Union Local 282,
K-Klass,
Malaria!,
Slick Rick,
Soft Machine,
The Move,
Jesper Dahlbäck,
Lungfish,
Fifty Foot Hose,
Popol Vuh, Popol Vuh, Popol Vuh, Popol Vuh.
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.