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 Guinea-Bissau and from Philadelphia.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Tehran and Philadelphia.
I'm losing my edge to the art-school Shanghai 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the theremin 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 Ronnie Foster to the disco kids.
I played it at the 40 Watt.
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 Moby Grape. All the underground hits.
All Blossom Toes tracks. I heard you have a vinyl of every Röyhkä ja Rättö ja Lehtisalo 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 '80s cut and another box set from the '90s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Althea and Donna record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fluxion,
Boz Scaggs,
Aural Exciters,
Stiv Bators,
Sound Behaviour,
Deutsch Amerikanische Freundschaft,
The Happenings,
Anthony Braxton,
AZ,
Bush Tetras,
Kool G Rap & DJ Polo,
Ituana,
The Monks,
Maleditus Sound,
Slave,
Los Fastidios,
Porter Ricks,
Gil Scott-Heron and Jamie xx,
Chris & Cosey,
DJ Style,
A Certain Ratio,
The Moody Blues,
Harpers Bizarre,
Fugazi,
Marcia Griffiths,
Altered Images,
B.T. Express,
Mr. Review,
Derrick May,
Juan Atkins,
E-Dancer,
Kevin Saunderson,
Jimmy McGriff,
Negative Approach,
Funky Four + One,
The Dave Clark Five,
the Bar-Kays,
EPMD,
Funkadelic,
Gian Franco Pienzio,
Nirvana,
The Mummies,
Sugar Minott,
the Germs,
The Chocolate Watch Band,
Minnie Riperton,
MDC,
Soft Machine,
Shoche,
The Angels of Light,
Patti Smith,
Moebius,
The Standells,
Visionaries,LMNO, T- Love & Iriscience,
Kerrie Biddell,
Delon & Dalcan,
Avey Tare,
Brothers Johnson,
Lonnie Liston Smith,
MC5,
Cecil Taylor,
The Dead C,
Roy Ayers,
Tres Demented, Tres Demented, Tres Demented, Tres Demented.
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.