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 East Timor and from Jakarta.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 New York and New York.
I'm losing my edge to the art-school Cairo 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 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 The Mojo Men to the rap 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 Marc Romboy vs. Booka Shade. All the underground hits.
All Ossler tracks. I heard you have a vinyl of every The Move record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cramps,
Bronski Beat,
James White and The Blacks,
Hoover,
Liliput,
E-Dancer,
Gong,
Gang Green,
Blossom Toes,
Robert Hood,
Gil Scott Heron,
Marine Girls,
Gastr Del Sol,
David Axelrod,
Skriet,
Tim Buckley,
Agitation Free,
Robert Görl,
8 Eyed Spy,
The Black Dice,
Lakeside,
Animal Collective,
Deepchord,
Lou Reed,
Letta Mbulu,
Groovy Waters,
Sandy B,
Fatback Band,
Beasts of Bourbon,
The Toasters,
Ronnie Foster,
The Wake,
Audionom,
The Detroit Cobras,
Spoonie Gee,
Laurel Aitken,
Deutsch Amerikanische Freundschaft,
Deakin,
Radiohead,
The Birthday Party,
The West Coast Pop Art Experimental Band,
Arcadia,
Joe Smooth,
Ultravox,
OOIOO,
Albert Ayler,
June of 44,
Harry Pussy,
Gian Franco Pienzio,
Ultramagnetic MC's,
Chris & Cosey,
Parry Music,
Rhythim Is Rhythim,
Eve St. Jones,
Mission of Burma,
London Community Gospel Choir,
Yellowson,
Technova,
Royal Trux,
Black Moon,
Gang Starr,
The Doors, The Doors, The Doors, The Doors.
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.