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 Switzerland and from Columbus.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Spokane and Mumbai.
I'm losing my edge to the art-school Manchester 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 clarinet sounds with much patience.
I was there when Lou Reed 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 Ultimate Spinach to the grime 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 Buzzcocks. All the underground hits.
All Delta 5 tracks. I heard you have a vinyl of every Marshall Jefferson 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 '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Marc Romboy vs. Booka Shade record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nation of Ulysses,
The West Coast Pop Art Experimental Band,
Marcia Griffiths,
Scratch Acid,
Selector Dub Narcotic,
Jerry's Kids,
Eddi Front,
a-ha,
Pere Ubu,
Carl Craig,
Sun City Girls,
Sun Ra Arkestra,
Quantec,
Ituana,
48th St. Collective,
Agent Orange,
Mars,
Boredoms,
Easy Going,
The Pretty Things,
Terry Callier,
The Standells,
The Happenings,
Joyce Sims,
Freddie Wadling,
Harmonia,
Jesper Dahlbäck,
Supertramp,
Black Flag,
Sad Lovers and Giants,
Skriet,
The Royal Family And The Poor,
Agitation Free,
Derrick May,
Ornette Coleman,
Electric Light Orchestra,
F. McDonald,
The Mighty Diamonds,
Traffic Nightmare,
James Chance & The Contortions,
Nik Kershaw,
Magma,
Davy DMX,
Wings,
Soul II Soul,
Grandmaster Flash,
Danielle Patucci,
John Coltrane,
Skaos,
Wolf Eyes,
Piero Umiliani,
New Age Steppers,
Throbbing Gristle,
Suicide,
Swell Maps,
Negative Approach,
Bluetip,
The Dave Clark Five, The Dave Clark Five, The Dave Clark Five, The Dave Clark Five.
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.