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 Marshall Islands and from Beijing.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Lagos and Toronto.
I'm losing my edge to the art-school Houston 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 1984 at the first Arcadia practice in a loft in London.
I was working on the theremin sounds with much patience.
I was there when David Bowie 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 Q65 to the electroclash kids.
I played it at the Astoria.
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 Johnny Osbourne. All the underground hits.
All Pole tracks. I heard you have a vinyl of every Jesper Dahlbäck 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 '50s cut and another box set from the '80s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your harpsichord and bought an organ.
I hear that you and your band have sold your organ and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soul Sonic Force,
Easy Going,
The Last Poets,
Scan 7,
Monks,
UT,
Gang Starr,
Heaven 17,
Sällskapet,
Harry Pussy,
Peter & Gordon,
Blossom Toes,
Laurel Aitken,
Terrestrial Tones,
DNA,
Little Man,
EPMD,
Peter Gordon & Love of Life Orchestra,
Marcia Griffiths,
Icehouse,
Tears for Fears,
Jeru the Damaja,
The Offenders,
Sam Rivers,
Dark Day,
Delta 5,
10cc,
Funkadelic,
Nas,
Neil Young & Crazy Horse,
Flamin' Groovies,
The Pretty Things,
Super Lover Cee & Casanova Rud,
Banda Bassotti,
Oblivians,
Joensuu 1685,
cv313,
Lower 48,
Rosa Yemen,
Television,
Ohio Players,
Theoretical Girls,
Slave,
Leonard Cohen,
The Dirtbombs,
The Doobie Brothers,
The Gun Club,
John Holt,
Kevin Saunderson,
Bush Tetras,
Pagans,
Maurizio,
David McCallum,
B.T. Express,
Alton Ellis,
Rites of Spring,
Adolescents,
Shuggie Otis,
Minnie Riperton,
Amon Düül,
Tim Buckley,
Mr. Review,
The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain.
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.