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 Kosovo and from Glasgow.
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 1975.
I'm losing my edge.
To all the kids in Cairo and Tokyo.
I'm losing my edge to the art-school Manila 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 1973 at the first Television practice in a loft in New York.
I was working on the marimba sounds with much patience.
I was there when Robert Palmer 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 Toni Rubio to the jazz 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 Cabaret Voltaire. All the underground hits.
All Sonny Sharrock tracks. I heard you have a vinyl of every Eve St. Jones 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 '70s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Surgeon record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Mo-Dettes,
Pagans,
Adolescents,
Nirvana,
De La Soul & Jungle Brothers,
Motorama,
the Fania All-Stars,
Neu!,
Outsiders,
Rhythm & Sound,
Judy Mowatt,
Robert Hood,
Gregory Isaacs,
FM Einheit,
Sam Rivers,
Fort Wilson Riot,
UT,
Country Teasers,
The Invisible,
Althea and Donna,
Matthew Bourne,
Boredoms,
Monks,
The Monochrome Set,
Manfred Mann's Earth Band,
Accadde A,
Eve St. Jones,
Thee Headcoats,
It's A Beautiful Day,
Art Ensemble Of Chicago,
China Crisis,
Kas Product,
The Shadows of Knight,
Andrew Ashong & Theo Parrish,
Gang of Four,
The Move,
Colin Newman,
The Blackbyrds,
Ossler,
The Moleskins,
Jacob Miller,
Alphaville,
Darondo,
Can,
Peter and Kerry,
La Düsseldorf,
The Monks,
Harmonia,
Pharaoh Sanders and the Fire Engines,
The Cramps,
The Gladiators,
Oneida,
Major Organ And The Adding Machine,
The Durutti Column,
John Coltrane,
Roxy Music,
Bad Manners,
Guru Guru,
Avey Tare's Slasher Flicks,
Anthony Braxton,
Sarah Menescal,
Dave Gahan,
Todd Terry, Todd Terry, Todd Terry, Todd Terry.
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.