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 Iran and from Spokane.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Lille and Woodstock.
I'm losing my edge to the art-school Delhi 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 marimba 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 N.O.R.E. Featuring Pharrell to the techno 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 The Neon Judgement. All the underground hits.
All Gang Starr tracks. I heard you have a vinyl of every Scratch Acid record on German import.
I heard that you have a white label of every seminal electroclash 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 harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
Suburban Knight,
The Moody Blues,
Howard Jones,
Soft Cell,
Lonnie Liston Smith,
The Star Department,
the Bar-Kays,
Gichy Dan,
Joy Division,
the Soft Cell,
Sexual Harrassment,
Black Flag,
Sällskapet,
Quadrant,
Oneida,
F. McDonald,
Big Daddy Kane,
Bizarre Inc.,
Charles Mingus,
Eddi Front,
Little Man,
Vaughan Mason & Crew,
Faraquet,
Patti Smith,
Camberwell Now,
Liliput,
CMW,
The Seeds,
Y Pants,
The Stooges,
Eurythmics,
Supertramp,
Trumans Water,
Lou Reed,
Iggy Pop,
Jandek,
Brass Construction,
Black Sheep,
Byron Stingily,
Roxette,
Faust,
Stetsasonic,
Oblivians,
Al Stewart,
Scott Walker,
Hashim,
Crispy Ambulance,
Andrew Hill,
Ralphi Rosario,
The Gladiators,
Parry Music,
Livin' Joy,
Leonard Cohen,
Godley & Creme,
Albert Ayler,
Main Source,
Notorious BIG live in Amsterdam,
The New Christs,
Jesper Dahlbäck,
FM Einheit,
Tropical Tobacco,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.