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 Russia and from Stockholm.
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 1973.
I'm losing my edge.
To all the kids in Bremen and Johannesburg.
I'm losing my edge to the art-school Lille 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 1976 at the first Chic practice in a loft in New York.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald 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 Sight & Sound 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 Jerry Gold Smith. All the underground hits.
All Wighnomy Brothers & Robag Wruhme tracks. I heard you have a vinyl of every Alison Limerick record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Mark Hollis record.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scion,
The Durutti Column,
The Gun Club,
Funkadelic,
Skarface,
Lizzy Mercier Descloux,
Johnny Clarke,
Lindisfarne,
Surgeon,
Kaleidoscope,
DJ Sneak,
ABC,
Alton Ellis,
The Wake,
Arthur Verocai,
Rhythm & Sound,
a-ha,
Drexciya,
Roy Ayers,
Vaughan Mason & Crew,
The Gap Band,
DJ Style,
T.S.O.L.,
Pierre Henry,
Arab on Radar,
Icehouse,
The Chocolate Watch Band,
Kenny Larkin,
E-Dancer,
Second Layer,
Scientists,
Panda Bear,
Excepter,
Moss Icon,
Todd Terry,
The Dave Clark Five,
Television,
Maleditus Sound,
New York Dolls,
The Alarm Clocks,
Model 500,
Ken Boothe,
Monolake,
Sällskapet,
Fat Boys,
Quando Quango,
Magma,
Tomorrow,
Black Bananas,
Motorama,
The New Christs,
R.M.O.,
The Sisters of Mercy,
Joyce Sims,
Sun Ra Arkestra,
Sarah Menescal,
Sam Rivers,
Freddie Wadling,
CMW,
MDC,
Mantronix,
Accadde A, Accadde A, Accadde A, Accadde A.
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.