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 Congo and from Accra.
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 1977.
I'm losing my edge.
To all the kids in Hong Kong and Copenhagen.
I'm losing my edge to the art-school Accra 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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Tim Buckley to the jazz kids.
I played it at the Roxy.
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 Negative Approach. All the underground hits.
All Minor Threat tracks. I heard you have a vinyl of every The Index record on German import.
I heard that you have a white label of every seminal crunk 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 theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Radio Birdman record.
I hear that you and your band have sold your sitar and bought a 808.
I hear that you and your band have sold your 808 and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dead C,
10cc,
Liliput,
Lungfish,
Make Up,
Isaac Hayes,
Fear,
Althea and Donna,
Sällskapet,
Scott Walker,
Amon Düül,
Symarip,
Jesper Dahlbäck,
Nirvana,
The Real Kids,
Freddie Wadling,
Sarah Menescal,
Mark Hollis,
Chrome,
the Sonics,
Bobby Byrd,
Quantec,
Minor Threat,
Marc Almond,
Crime,
Average White Band,
Traffic Nightmare,
Nick Fraelich,
Ultravox,
Aural Exciters,
Throbbing Gristle,
Erykah Badu,
Maleditus Sound,
Nik Kershaw,
Pole,
Scratch Acid,
OOIOO,
Magazine,
Arab on Radar,
Laurel Aitken,
Man Parrish,
Rosa Yemen,
Liaisons Dangereuses,
Tropical Tobacco,
Drexciya,
Sight & Sound,
Donald Byrd,
Harpers Bizarre,
Jawbox,
Eric B and Rakim,
Charles Mingus,
Index,
Faust,
Au Pairs,
the Fania All-Stars,
The Fugs,
Deadbeat,
Skaos,
Bizarre Inc.,
Andrew Hill,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
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.