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 Kuwait and from Toronto.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1966 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Copenhagen.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the linndrum 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 The Beau Brummels to the rap 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 Andrew Hill. All the underground hits.
All Marcia Griffiths tracks. I heard you have a vinyl of every Lakeside record on German import.
I heard that you have a white label of every seminal rock 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 linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & Metallica record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy's Rubber Band,
Jeru the Damaja,
Ultramagnetic MC's,
Tomorrow,
Todd Terry,
ABBA,
Tommy Roe,
Nirvana,
Jimmy McGriff,
Alison Limerick,
Yellowson,
Siglo XX,
John Coltrane,
Mo-Dettes,
8 Eyed Spy,
The American Breed,
The Cosmic Jokers,
Major Organ And The Adding Machine,
Bronski Beat,
Spandau Ballet,
Guru Guru,
Bizarre Inc.,
The Durutti Column,
Howard Jones,
Davy DMX,
The Walker Brothers,
Mission of Burma,
Bobby Womack,
Rosa Yemen,
Fela Kuti,
Skaos,
Delta 5,
X-102,
Skarface,
Royal Trux,
Motorama,
Section 25,
Mad Mike,
Barrington Levy,
Lalo Schifrin,
Marmalade,
the Slits,
These Immortal Souls,
Boredoms,
Minny Pops,
The Knickerbockers,
Alphaville,
Be Bop Deluxe,
UT,
Intrusion,
Susan Cadogan,
Althea and Donna,
The Buckinghams,
Manfred Mann's Earth Band,
Sexual Harrassment,
Rowland S Howard / Lydia Lunch,
Kings Of Tomorrow,
Kool G Rap & DJ Polo,
Flamin' Groovies,
a-ha, a-ha, a-ha, a-ha.
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.