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 Mozambique and from Houston.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1979.
I'm losing my edge.
To all the kids in Seoul and Calgary.
I'm losing my edge to the art-school Glasgow 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 chamberlin 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 Skriet to the crunk kids.
I played it at the Crocodile.
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 Wolf Eyes. All the underground hits.
All PIL tracks. I heard you have a vinyl of every Sällskapet record on German import.
I heard that you have a white label of every seminal jazz 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 clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Scott Walker record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
U.S. Maple,
Morten Harket,
Teenage Jesus and the Jerks,
Sad Lovers and Giants,
Max Romeo,
Hardrive,
Bobby Womack,
Soulsonic Force,
John Coltrane,
Carl Craig,
The Skatalites,
Robert Hood,
Rotary Connection,
The Knickerbockers,
Agitation Free,
Magazine,
Kool G Rap & DJ Polo,
Anthony Braxton,
MC5,
These Immortal Souls,
Camron Feat. Memphis Bleek And Beenie Seigel,
Prince Buster,
The Shadows of Knight,
Aaron Thompson,
Nation of Ulysses,
Mission of Burma,
Yusef Lateef,
Thompson Twins,
Lee Hazlewood,
Basic Channel,
Ultra Naté,
Half Japanese,
Funky Four + One,
Sunsets and Hearts,
Barclay James Harvest,
JFA,
Marc Almond,
Moby Grape,
Jacques Brel,
Lou Reed & John Cale,
Aural Exciters,
Tropical Tobacco,
Roxette,
Sister Nancy,
Nick Fraelich,
Boz Scaggs,
Pharoah Sanders,
Liliput,
Al Stewart,
Los Fastidios,
Throbbing Gristle,
Circle Jerks,
Vladislav Delay,
Bill Wells,
Bang On A Can,
Con Funk Shun,
Unwound,
The Trojans,
The Young Rascals,
Soul Sonic Force,
Traffic Nightmare,
Lou Reed,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.