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 Somalia and from Lagos.
But I was there.
I was there in .
I was there at the first Suicide 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 1969 to 1977.
I'm losing my edge.
To all the kids in Manila and Edmonton.
I'm losing my edge to the art-school Lyon 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 808 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 The Royal Family And The Poor to the jazz kids.
I played it at CBGB's.
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 Nirvana. All the underground hits.
All The Last Poets tracks. I heard you have a vinyl of every Scion record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
Pylon,
Harpers Bizarre,
Althea and Donna,
Barry Ungar,
Traffic Nightmare,
Scan 7,
Bootsy Collins,
Art Ensemble Of Chicago,
Slick Rick,
Henry Cow,
Wally Richardson,
Porter Ricks,
The Cowsills,
DNA,
Main Source,
Rod Modell,
Franke,
Rakim,
Mandrill,
Babytalk,
Sad Lovers and Giants,
Colin Newman,
Laurel Aitken,
Bluetip,
Spoonie Gee,
De La Soul & Jungle Brothers,
Joe Smooth,
the Germs,
Ornette Coleman,
Red Lorry Yellow Lorry,
Nik Kershaw,
Avey Tare's Slasher Flicks,
Orchestral Manoeuvres in the Dark,
Dual Sessions,
Marc Almond,
Swell Maps,
Angels of Light & Akron/Family,
Joensuu 1685,
Alphaville,
Minor Threat,
The Gap Band,
Spandau Ballet,
Jimmy McGriff,
Magma,
Sight & Sound,
Vaughan Mason & Crew,
The West Coast Pop Art Experimental Band,
Kas Product,
Gang Green,
The Moleskins,
Gang Gang Dance,
the Human League,
Wire,
Thompson Twins,
Lakeside,
Inner City,
The Remains,
Crash Course in Science,
Q and Not U,
Camron Feat. Jay Z And Juelz,
Don Cherry, Don Cherry, Don Cherry, Don Cherry.
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.