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 Belize and from Calgary.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Madrid and Lagos.
I'm losing my edge to the art-school Milan 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 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 Roy Ayers Ubiquity to the grunge kids.
I played it at Cafe Wha.
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 Wasted Youth. All the underground hits.
All Roxy Music tracks. I heard you have a vinyl of every Can record on German import.
I heard that you have a white label of every seminal dance 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 rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Scott Walker record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ludus,
The Motions,
Liaisons Dangereuses,
Notorious BIG live in Amsterdam,
Roy Ayers Ubiquity,
The Detroit Cobras,
Con Funk Shun,
The Peanut Butter Conspiracy,
The Modern Lovers,
Tears for Fears,
Anthony Braxton,
Pylon,
Pussy Galore,
Echospace,
Sam Rivers,
The New Christs,
Curtis Mayfield,
Suburban Knight,
Avey Tare's Slasher Flicks,
Ituana,
Black Bananas,
Swans,
Sandy B,
the Germs,
Nation of Ulysses,
The Sonics,
Frankie Knuckles,
The West Coast Pop Art Experimental Band,
Supertramp,
Quadrant,
Popol Vuh,
John Coltrane,
Kings Of Tomorrow,
L. Decosne,
The Count Five,
Gil Scott-Heron & Brian Jackson,
Intrusion,
Wighnomy Brothers & Robag Wruhme,
Underground Resistance,
Big Daddy Kane,
Stereo Dub,
Erasure,
The Shadows of Knight,
Crispian St. Peters,
Joey Negro,
The Kinks,
Cabaret Voltaire,
The Blues Magoos,
Gang of Four,
Flipper,
The Mummies,
Gil Scott-Heron and Jamie xx,
Eric Dolphy,
Sly & The Family Stone,
Ohio Players,
The Busters,
David Axelrod,
Bush Tetras,
Shoche,
Adolescents,
Sparks,
Dark Day,
Brothers Johnson,
Prince Buster, Prince Buster, Prince Buster, Prince Buster.
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.