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 Bhutan and from Accra.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Lyon and Johannesburg.
I'm losing my edge to the art-school Portland 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the organ 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 Peter and Kerry to the grunge kids.
I played it at the 40 Watt.
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 Lou Reed & Metallica. All the underground hits.
All The Divine Comedy tracks. I heard you have a vinyl of every Fad Gadget record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Intrusion record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kings Of Tomorrow,
Bootsy Collins,
Minnie Riperton,
Nirvana,
Cabaret Voltaire,
Duran Duran,
Roxette,
The Music Machine,
John Cale,
Youth Brigade,
These Immortal Souls,
Dual Sessions,
Robert Wyatt,
Schoolly D,
Porter Ricks,
Organ,
Subhumans,
David Bowie,
The Pop Group,
Erykah Badu,
10cc,
Marc Romboy vs. Booka Shade,
Camberwell Now,
Bronski Beat,
John Lydon,
Altered Images,
the Fania All-Stars,
Bad Manners,
Glenn Branca,
Rites of Spring,
Lyres,
Audionom,
Black Flag,
Max Romeo,
Jeff Mills,
Quadrant,
The Royal Family And The Poor,
Peter Gordon & Love of Life Orchestra,
Hasil Adkins,
Echospace,
The Human League,
Ultramagnetic MC's,
Mark Hollis,
Boogie Down Productions,
Inner City,
Andrew Ashong & Theo Parrish,
Pierre Henry,
Dr. Dre and Snoop Doggy Dog,
Suicide,
Lalann,
Mr. Review,
Yazoo,
Drive Like Jehu,
DJ Sneak,
Hashim,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
ABC,
Minny Pops,
Rhythm & Sound,
Eric Copeland,
Basic Channel,
Grauzone,
UT,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.