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 Trinidad & Tobago and from Spokane.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Lyon and Portland.
I'm losing my edge to the art-school Copenhagen 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 snare 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 Stereo Dub to the rap 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 Dark Day. All the underground hits.
All Public Image Ltd. tracks. I heard you have a vinyl of every The Invisible record on German import.
I heard that you have a white label of every seminal punk 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 linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronnie Foster,
Audionom,
Cal Tjader,
Althea and Donna,
Underground Resistance,
Teenage Jesus and the Jerks,
The Barracudas,
Bad Manners,
AZ,
DJ Style,
Black Flag,
Maleditus Sound,
The Music Machine,
The Searchers,
Spandau Ballet,
Cluster,
Boredoms,
Easy Going,
Essential Logic,
Sällskapet,
Sonic Youth,
Donny Hathaway,
Eric B and Rakim,
Dual Sessions,
Agent Orange,
Gichy Dan,
Schoolly D,
Camouflage,
Donald Byrd,
Q65,
Jesper Dahlback,
Roxette,
Art Ensemble Of Chicago,
The Red Krayola,
These Immortal Souls,
The United States of America,
Ralphi Rosario,
Robert Hood,
Rekid,
Camberwell Now,
Shuggie Otis,
Skriet,
Marc Almond,
Smog,
Joe Finger,
Robert Görl,
Rotary Connection,
Beasts of Bourbon,
K-Klass,
Roy Ayers,
Oppenheimer Analysis,
Matthew Halsall,
Scott Walker,
Derrick Morgan,
Ohio Players,
Gil Scott-Heron and Jamie xx,
Lalo Schifrin,
The Pretty Things,
Glambeats Corp.,
The Blackbyrds,
Simply Red,
Buzzcocks, Buzzcocks, Buzzcocks, Buzzcocks.
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.