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 Tonga and from Tehran.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1976.
I'm losing my edge.
To all the kids in Stockholm and Mumbai.
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 sitar 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 Andrew Hill to the rap kids.
I played it at the Crocodile.
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 Ossler. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every Los Fastidios record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Smoke record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Manfred Mann's Earth Band,
Joyce Sims,
Ultramagnetic MC's,
The Velvet Underground,
Michelle Simonal,
Schoolly D,
Japan,
Subhumans,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Raincoats,
Parry Music,
Buzzcocks,
Sun City Girls,
The Kinks,
Average White Band,
John Foxx,
Flipper,
Gil Scott Heron,
Grandmaster Flash and the Furious Five,
James Chance & The Contortions,
June Days,
Magazine,
Fear,
Quantec,
Selector Dub Narcotic,
MC5,
Byron Stingily,
Liaisons Dangereuses,
Bobby Womack,
Thinking Fellers Union Local 282,
Pylon,
Skriet,
The Associates,
Avey Tare's Slasher Flicks,
Crime,
Supertramp,
Lakeside,
The New Christs,
Infiniti,
Minor Threat,
Banda Bassotti,
Visionaries,LMNO, T- Love & Iriscience,
Frankie Knuckles,
Mr. Review,
Tommy Roe,
Lou Reed & John Cale,
London Community Gospel Choir,
The Cure,
Bobby Byrd,
Reagan Youth,
T. Rex,
David Axelrod,
The Blues Magoos,
Eli Mardock,
Inner City,
Peter and Kerry,
Urselle,
The Real Kids,
Deutsch Amerikanische Freundschaft,
Porter Ricks,
Pierre Henry,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.