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 Hungary and from Mexico City.
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 1974.
I'm losing my edge.
To all the kids in Portland and Columbus.
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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the harpsichord 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 John Lydon to the grime kids.
I played it at CBGB's.
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 Gian Franco Pienzio. All the underground hits.
All Frankie Knuckles tracks. I heard you have a vinyl of every Thompson Twins record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Bowie,
Roy Ayers Ubiquity,
Deutsch Amerikanische Freundschaft,
DNA,
Royal Trux,
cv313,
Rekid,
Pierre Henry,
DJ Style,
Livin' Joy,
Bronski Beat,
Qualms,
Amon Düül,
Slave,
Yellowson,
Traffic Nightmare,
John Lydon,
Altered Images,
Fifty Foot Hose,
John Coltrane,
Minnie Riperton,
Morten Harket,
Andrew Hill,
Marshall Jefferson,
Charles Mingus,
Amon Düül II,
Talk Talk,
The Trojans,
Can,
Major Organ And The Adding Machine,
One Last Wish,
Junior Murvin,
MDC,
Stereo Dub,
June of 44,
Vainqueur,
The Gories,
Half Japanese,
Interpol,
John Cale,
Slick Rick,
Rhythim Is Rhythim,
Clear Light,
Alice Coltrane,
PIL,
Brand Nubian,
Bob Dylan,
Piero Umiliani,
Kerri Chandler,
DJ Sneak,
Dark Day,
The Toasters,
Bobby Womack,
Sugar Minott,
Kas Product,
The Flesh Eaters,
Unrelated Segments,
John Holt,
Leonard Cohen,
The Cosmic Jokers,
Roxette, Roxette, Roxette, Roxette.
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.