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 Nicaragua and from Winnipeg.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Beijing and Philadelphia.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the mellotron sounds with much patience.
I was there when Nile Rodgers 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 Rapeman to the techno kids.
I played it at the Troubador.
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 Ossler. All the underground hits.
All Maurizio tracks. I heard you have a vinyl of every ABBA record on German import.
I heard that you have a white label of every seminal disco 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 sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Q and Not U record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vainqueur,
Kango’s Stein Massive,
Bobby Byrd,
L. Decosne,
The Velvet Underground,
Kaleidoscope,
Bootsy Collins,
OOIOO,
Stetsasonic,
Jerry's Kids,
The Techniques,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ten City,
Harry Pussy,
Letta Mbulu,
Unwound,
Maurizio,
The Doors,
Lee Hazlewood,
Moby Grape,
Todd Rundgren,
The Barracudas,
The Names,
The Birthday Party,
Nico,
The Tremeloes,
Marc Almond,
Banda Bassotti,
Jerry Gold Smith,
The West Coast Pop Art Experimental Band,
Andrew Ashong & Theo Parrish,
Jeff Mills,
Grey Daturas,
Nas,
The Blues Magoos,
La Düsseldorf,
KRS-One,
Janne Schatter,
Louis and Bebe Barron,
Hasil Adkins,
The Moleskins,
Eric B and Rakim,
Peter Gordon & Love of Life Orchestra,
Infiniti,
Prince Buster,
Piero Umiliani,
Cecil Taylor,
the Normal,
Archie Shepp,
Negative Approach,
Traffic Nightmare,
Lou Christie,
The Blackbyrds,
Loose Ends,
Crispian St. Peters,
The Alarm Clocks,
Jeru the Damaja,
Blancmange,
Grandmaster Flash,
Marmalade,
Ultravox,
ABBA,
Q and Not U,
The Last Poets, The Last Poets, The Last Poets, The Last Poets.
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.