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 Rwanda and from Columbus.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Lyon and Sao Paulo.
I'm losing my edge to the art-school Salvador 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 Wire practice in a loft in Watford.
I was working on the linndrum 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 Hoover to the grime kids.
I played it at the Crocodile.
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 Letta Mbulu. All the underground hits.
All Fluxion tracks. I heard you have a vinyl of every Blake Baxter 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 theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
The Move,
Monks,
Sight & Sound,
Jesper Dahlback,
The Raincoats,
Jawbox,
Terry Callier,
Sonic Youth,
Brick,
Pole,
8 Eyed Spy,
Yaz,
Supertramp,
The Offenders,
Lungfish,
Nick Cave & The Bad Seeds,
Lakeside,
A Certain Ratio,
Orchestral Manoeuvres in the Dark,
Fela Kuti,
The Martian,
Art Ensemble Of Chicago,
Kenny Larkin,
Brothers Johnson,
Public Enemy,
DeepChord presents Echospace,
Don Cherry,
Crooked Eye,
Oneida,
Michelle Simonal,
The Vogues,
Gang Green,
Subhumans,
Sun Ra,
Negative Approach,
the Normal,
Rites of Spring,
the Sonics,
John Holt,
Roy Ayers,
Arab on Radar,
Peter and Kerry,
Unwound,
Zero Boys,
48th St. Collective,
Magma,
Quadrant,
Maurizio,
Jesper Dahlbäck,
Bobby Byrd,
Gil Scott Heron,
Lalo Schifrin,
This Heat,
Pantaleimon,
The Mighty Diamonds,
Kas Product,
Wings,
Arthur Verocai,
Man Eating Sloth,
The Pretty Things,
The Gories,
Minnie Riperton, Minnie Riperton, Minnie Riperton, Minnie Riperton.
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.