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 United States and from New York.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Philadelphia and Salvador.
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 sitar sounds with much patience.
I was there when Holger Czukay 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 Sugar Minott to the grime kids.
I played it at Trash.
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 Yaz. All the underground hits.
All Alphaville tracks. I heard you have a vinyl of every The Raincoats 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 '80s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Rakim record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Procol Harum,
Technova,
Sam Rivers,
The Alarm Clocks,
Pagans,
Lafayette Afro Rock Band,
Swell Maps,
Laurel Aitken,
Rapeman,
James Chance & The Contortions,
Magazine,
Inner City,
Sixth Finger,
Siouxsie and the Banshees,
Amon Düül,
Todd Rundgren,
Lalann,
Malaria!,
The Toasters,
Joyce Sims,
The Mojo Men,
Masters at Work,
Josef K,
Connie Case,
Kool G Rap & DJ Polo,
The Gories,
Eric Dolphy,
Ash Ra Tempel,
Television Personalities,
DJ Style,
The Fall,
The Index,
EPMD,
F. McDonald,
Animal Collective,
Bootsy Collins,
Audionom,
The Raincoats,
World's Most,
Ludus,
The Vogues,
Hashim,
CMW,
Moss Icon,
Joey Negro,
Althea and Donna,
Aloha Tigers,
Soulsonic Force,
Gastr Del Sol,
Second Layer,
Tears for Fears,
Gong,
The Cowsills,
Lou Reed & John Cale,
Gang Starr,
Stockholm Monsters,
Art Ensemble Of Chicago,
Das Ding,
Black Pus,
Ten City,
Mr. Review,
The Cosmic Jokers,
Simply Red,
Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes.
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.