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 Japan and from Copenhagen.
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 1978.
I'm losing my edge.
To all the kids in Lagos and Tokyo.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Soul II Soul to the disco 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 David Axelrod. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every Mr. Review 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 '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gastr Del Sol,
Porter Ricks,
Frankie Knuckles,
Kool G Rap & DJ Polo,
Matthew Bourne,
Cameo,
the Swans,
Marcia Griffiths,
Slick Rick,
The Fall,
Nico,
Lonnie Liston Smith,
10cc,
Bluetip,
Spoonie Gee,
Soul Sonic Force,
Swell Maps,
Eli Mardock,
Erykah Badu,
Harpers Bizarre,
Cluster,
Sun City Girls,
Con Funk Shun,
Altered Images,
Roxette,
E-Dancer,
Guru Guru,
Crispy Ambulance,
Throbbing Gristle,
Monks,
Alton Ellis,
Fluxion,
Jeff Mills,
The Slits,
Prince Buster,
John Holt,
The Music Machine,
Louis and Bebe Barron,
The Litter,
Jesper Dahlbäck,
Scan 7,
The Cure,
David McCallum,
Agent Orange,
X-Ray Spex,
Idris Muhammad,
Mandrill,
The Cramps,
Skaos,
Sad Lovers and Giants,
Icehouse,
Boz Scaggs,
Lou Reed,
Eyeless In Gaza,
Interpol,
Howard Jones,
The Names,
the Normal,
The Beau Brummels,
The United States of America,
Sister Nancy,
Public Image Ltd.,
Jawbox, Jawbox, Jawbox, Jawbox.
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.