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 Norway and from Glasgow.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Beijing.
I'm losing my edge to the art-school Salvador 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 Michael McDonald 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 Sunsets and Hearts to the punk kids.
I played it at the Spitz.
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 Lizzy Mercier Descloux. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every Kool G Rap & DJ Polo 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 '70s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Cameo record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mojo Men,
Graham Central Station,
The Saints,
Masters at Work,
Moss Icon,
Grandmaster Flash,
Cybotron,
Yazoo,
Kurtis Blow,
Yellowson,
Suicide,
Ronnie Foster,
Outsiders,
The Real Kids,
Ash Ra Tempel,
cv313,
DeepChord presents Echospace,
Mark Hollis,
Technova,
Agent Orange,
Negative Approach,
Juan Atkins,
T. Rex,
Eric Copeland,
Deepchord,
Bizarre Inc.,
Ultra Naté,
Max Romeo,
Andrew Ashong & Theo Parrish,
K-Klass,
Gil Scott-Heron & Brian Jackson,
kango's stein massive,
Underground Resistance,
The Zeros,
The Last Poets,
Electric Prunes,
Minutemen,
Q and Not U,
Pet Shop Boys,
Johnny Clarke,
Ten City,
X-Ray Spex,
Lyres,
Jesper Dahlbäck,
Mary Jane Girls,
Tommy Roe,
In Retrospect,
Gong,
Morten Harket,
Kas Product,
Bootsy Collins,
The Black Dice,
Siglo XX,
Avey Tare,
Heavy D & The Boyz,
Ultramagnetic MC's,
Buzzcocks,
Junior Murvin,
Aural Exciters,
Black Moon,
Bill Wells,
Ituana, Ituana, Ituana, Ituana.
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.