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 Lebanon and from Shanghai.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 Tehran and Copenhagen.
I'm losing my edge to the art-school Sao Paulo 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 Robert Palmer 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 Marc Almond to the disco kids.
I played it at the Astoria.
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 Saints. All the underground hits.
All the Fania All-Stars tracks. I heard you have a vinyl of every The Sound 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 '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Sherman record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick Morgan,
Mad Mike,
Hardrive,
Kango’s Stein Massive,
Scratch Acid,
Lou Christie,
Ash Ra Tempel,
Fatback Band,
Jesper Dahlbäck,
The Seeds,
Public Image Ltd.,
The Busters,
Lee Hazlewood,
The Move,
Qualms,
Stiv Bators,
Alison Limerick,
Country Teasers,
Chris Corsano,
Youth Brigade,
Laurel Aitken,
Swell Maps,
The Dead C,
The Doors,
Notorious Big And Bone Thugs,
Johnny Osbourne,
Pagans,
Mary Jane Girls,
Smog,
June Days,
ABC,
The Shadows of Knight,
The Names,
New Age Steppers,
Cybotron,
Roxy Music,
Lou Reed & John Cale,
Camberwell Now,
The Fall,
Babytalk,
Dorothy Ashby,
Drexciya,
Faust,
DNA,
Curtis Mayfield,
Amazonics,
Pierre Henry,
Rhythm & Sound,
Letta Mbulu,
Section 25,
Infiniti,
The Fuzztones,
Gil Scott Heron,
Mr. Review,
Sandy B,
Average White Band,
Pharoah Sanders,
Desert Stars, Desert Stars, Desert Stars, Desert Stars.
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.