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 Uruguay and from Woodstock.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Houston and Stockholm.
I'm losing my edge to the art-school Bremen 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 synthesizer sounds with much patience.
I was there when Captain Beefheart 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 The Techniques to the disco 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 Make Up. All the underground hits.
All Malaria! tracks. I heard you have a vinyl of every Lou Reed & John Cale 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 '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron and Jamie xx,
Grandmaster Flash and the Furious Five,
F. McDonald,
Godley & Creme,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Banda Bassotti,
Jacques Brel,
Erykah Badu,
Porter Ricks,
Visage,
Minutemen,
John Coltrane,
Roxette,
Niagra,
Ohio Players,
Eric Copeland,
The Monks,
Alton Ellis,
Avey Tare & Kría Brekkan,
Fluxion,
Young Marble Giants,
Electric Light Orchestra,
The Searchers,
Cymande,
Pere Ubu,
The Doobie Brothers,
Pierre Henry,
Goldenarms,
Kaleidoscope,
Cluster,
Rahsaan Roland Kirk,
Wolf Eyes,
The Fall,
Faraquet,
The Detroit Cobras,
K-Klass,
Jeff Lynne,
The American Breed,
London Community Gospel Choir,
Rites of Spring,
JFA,
Iggy Pop,
Duran Duran,
Barclay James Harvest,
Mars,
Pole,
Camberwell Now,
Sticky Fingaz feat. Raekwon,
Larry & the Blue Notes,
Susan Cadogan,
Sound Behaviour,
Joensuu 1685,
Sun City Girls,
New York Dolls,
David Bowie,
The Shadows of Knight,
Warren Ellis,
Rod Modell,
Cheater Slicks,
Saccharine Trust,
Kevin Saunderson,
The Gun Club,
Zero Boys, Zero Boys, Zero Boys, Zero Boys.
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.