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 Honduras and from Lyon.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Tehran.
I'm losing my edge to the art-school Paris 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 at the first Suicide practice in a loft in New York.
I was working on the chamberlin 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 Albert Ayler to the crunk 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 Grey Daturas. All the underground hits.
All David Bowie tracks. I heard you have a vinyl of every Aaron Thompson record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Aural Exciters record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Sheep,
Gerry Rafferty,
Max Romeo,
Glambeats Corp.,
The Remains,
Pantytec,
John Foxx,
Unrelated Segments,
Massinfluence,
Porter Ricks,
Mars,
Bobby Womack,
Gichy Dan,
The Birthday Party,
Essential Logic,
James Chance & The Contortions,
The Knickerbockers,
Bauhaus,
Fort Wilson Riot,
Icehouse,
China Crisis,
In Retrospect,
The Martian,
Ralphi Rosario,
Idris Muhammad,
Monolake,
Rapeman,
X-Ray Spex,
Gary Puckett & The Union Gap,
Juan Atkins,
Man Parrish,
The Divine Comedy,
Sun Ra Arkestra,
Second Layer,
Danielle Patucci,
Aural Exciters,
Kango’s Stein Massive,
The Zeros,
The Human League,
The Walker Brothers,
Todd Rundgren,
Kool G Rap & DJ Polo,
the Association,
A Certain Ratio,
the Normal,
Eric Copeland,
Eve St. Jones,
Frankie Knuckles,
Isaac Hayes,
Eric Dolphy,
Thompson Twins,
a-ha,
Joe Finger,
Roxy Music,
Colin Newman,
Moby Grape,
Bootsy's Rubber Band,
The Grass Roots,
Eric B and Rakim,
Larry & the Blue Notes,
Eden Ahbez, Eden Ahbez, Eden Ahbez, Eden Ahbez.
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.