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 Tunisia and from Mumbai.
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 1975.
I'm losing my edge.
To all the kids in Beijing and London.
I'm losing my edge to the art-school Cairo 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 1976 at the first Chic practice in a loft in New York.
I was working on the spring reverb sounds with much patience.
I was there when David Bowie 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 James Chance & The Contortions to the electroclash 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 Country Teasers. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every The Birthday Party record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Fluxion record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sound Behaviour,
Deepchord,
Con Funk Shun,
Todd Terry,
Ultramagnetic MC's,
Sixth Finger,
Eyeless In Gaza,
Smog,
Fluxion,
Little Man,
Ralphi Rosario,
Severed Heads,
Chris & Cosey,
Dr. Dre and Snoop Doggy Dog,
The Move,
Wings,
the Germs,
Alphaville,
Janne Schatter,
E-Dancer,
Liliput,
Desert Stars,
Cecil Taylor,
AZ,
Deadbeat,
The Electric Prunes,
The Black Dice,
Wolf Eyes,
Swans,
Sugar Minott,
Pere Ubu,
Gian Franco Pienzio,
Lafayette Afro Rock Band,
Lyres,
Kango’s Stein Massive,
It's A Beautiful Day,
The Gun Club,
8 Eyed Spy,
Brass Construction,
Magma,
Major Organ And The Adding Machine,
Zero Boys,
Tears for Fears,
Masters at Work,
Throbbing Gristle,
The West Coast Pop Art Experimental Band,
Funky Four + One,
Peter and Kerry,
Mark Hollis,
Lou Christie,
Brick,
Y Pants,
Outsiders,
Kerrie Biddell,
Depeche Mode,
Yazoo,
Danielle Patucci,
Easy Going,
Albert Ayler, Albert Ayler, Albert Ayler, Albert Ayler.
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.