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 Barbados and from Tokyo.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Lille and Accra.
I'm losing my edge to the art-school London 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 marimba sounds with much patience.
I was there when Tom Verlaine 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 Scan 7 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 Bill Wells. All the underground hits.
All DeepChord presents Echospace tracks. I heard you have a vinyl of every D'Angelo record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sight & Sound,
Monks,
Maleditus Sound,
Fad Gadget,
New Age Steppers,
Sly & The Family Stone,
Eurythmics,
Thompson Twins,
Don Cherry,
Q65,
The Invisible,
Tres Demented,
The Offenders,
Lower 48,
Gary Puckett & The Union Gap,
Barry Ungar,
The Blackbyrds,
Gastr Del Sol,
Kas Product,
Outsiders,
Selector Dub Narcotic,
Kings Of Tomorrow,
Gil Scott-Heron & Brian Jackson,
Stiv Bators,
Nation of Ulysses,
Television Personalities,
Magma,
Fat Boys,
Dennis Brown,
Animal Collective,
The Vogues,
Lafayette Afro Rock Band,
Metal Thangz,
Kayak,
Rapeman,
Pussy Galore,
Los Fastidios,
John Foxx,
Spandau Ballet,
Marc Almond,
A Certain Ratio,
Suicide,
The Human League,
The Stooges,
Brass Construction,
Mo-Dettes,
Panda Bear,
Nils Olav,
Ultra Naté,
Bill Near,
Lindisfarne,
Jawbox,
Flipper,
James White and The Blacks,
Godley & Creme,
Minutemen,
Blossom Toes,
Stereo Dub,
the Bar-Kays,
Gil Scott Heron,
Quando Quango,
Bauhaus,
Scan 7,
Basic Channel, Basic Channel, Basic Channel, Basic Channel.
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.