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 Greece and from Jakarta.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1966 to 1977.
I'm losing my edge.
To all the kids in Winnipeg and Seoul.
I'm losing my edge to the art-school Houston 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 güiro sounds with much patience.
I was there when Donald Fagen 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 AZ to the rock 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 John Coltrane. All the underground hits.
All Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic tracks. I heard you have a vinyl of every Stockholm Monsters record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a David Bowie record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monks,
Jimmy McGriff,
Y Pants,
Matthew Halsall,
Robert Görl,
Tres Demented,
Brothers Johnson,
Suicide,
The West Coast Pop Art Experimental Band,
The Neon Judgement,
Gichy Dan,
David Axelrod,
Aloha Tigers,
Rotary Connection,
the Bar-Kays,
The Dave Clark Five,
Bootsy Collins,
Das Ding,
Rahsaan Roland Kirk,
Electric Light Orchestra,
The Seeds,
the Soft Cell,
Black Sheep,
Eric B and Rakim,
Pantaleimon,
The Red Krayola,
Minny Pops,
Jerry's Kids,
Liaisons Dangereuses,
Kool Moe Dee,
Siglo XX,
Hasil Adkins,
Joyce Sims,
Pussy Galore,
The Gladiators,
The Litter,
The Walker Brothers,
The Cramps,
the Normal,
Animal Collective,
Jawbox,
Lou Christie,
Accadde A,
Davy DMX,
Groovy Waters,
the Association,
New Order,
Ornette Coleman,
Warren Ellis,
Don Cherry,
Ludus,
Sugar Minott,
Sly & The Family Stone,
Dark Day,
E-Dancer,
Fluxion,
This Heat,
Laurel Aitken,
The Selecter,
The Associates,
Urselle,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.