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 Bulgaria and from Stockholm.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Hong Kong and Toronto.
I'm losing my edge to the art-school Copenhagen 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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 China Crisis to the techno kids.
I played it at the Astoria.
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 The Gories. All the underground hits.
All Agent Orange tracks. I heard you have a vinyl of every Funkadelic record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Nils Olav record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barclay James Harvest,
Scratch Acid,
Delon & Dalcan,
the Fania All-Stars,
Susan Cadogan,
Traffic Nightmare,
Andrew Ashong & Theo Parrish,
EPMD,
Whodini,
Jacob Miller,
Don Cherry,
Scott Walker,
A Certain Ratio,
Art Ensemble Of Chicago,
The Gap Band,
Jeru the Damaja,
Tom Boy,
Vainqueur,
Goldenarms,
Kango’s Stein Massive,
Theoretical Girls,
Make Up,
X-Ray Spex,
Eve St. Jones,
Todd Rundgren,
K-Klass,
The Offenders,
Angry Samoans,
Kool G Rap & DJ Polo,
The Busters,
Hoover,
Matthew Halsall,
Scrapy,
Justin Hinds & The Dominoes,
Joy Division,
Essential Logic,
Cymande,
Teenage Jesus and the Jerks,
Eyeless In Gaza,
Wire,
The Gun Club,
Isaac Hayes,
Camron Feat. Memphis Bleek And Beenie Seigel,
Connie Case,
Bill Near,
Pharoah Sanders,
Roy Ayers,
The Count Five,
Hot Snakes,
Kerrie Biddell,
Severed Heads,
Kenny Larkin,
Graham Central Station,
Accadde A,
D'Angelo,
Josef K,
Joyce Sims,
Magma,
Au Pairs,
It's A Beautiful Day,
Johnny Clarke,
Swell Maps,
Cheater Slicks,
Slave,
The Durutti Column, The Durutti Column, The Durutti Column, The Durutti Column.
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.