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 Algeria and from Lille.
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 1971.
I'm losing my edge.
To all the kids in Bremen and New York.
I'm losing my edge to the art-school Sao Paulo 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the chamberlin 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 Red Lorry Yellow Lorry to the funk kids.
I played it at the Spitz.
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 Kaleidoscope. All the underground hits.
All Soft Machine tracks. I heard you have a vinyl of every Ludus record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Mars record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Prunes,
Graham Central Station,
Kayak,
Angry Samoans,
Audionom,
Section 25,
X-Ray Spex,
Jerry Gold Smith,
The Dave Clark Five,
Rekid,
Al Stewart,
Tears for Fears,
Shoche,
Notorious BIG live in Amsterdam,
Joyce Sims,
The Black Dice,
The Fuzztones,
Marcia Griffiths,
Charles Mingus,
Teenage Jesus and the Jerks,
The Motions,
Lindisfarne,
Kerrie Biddell,
Scratch Acid,
Marshall Jefferson,
Gil Scott-Heron & Brian Jackson,
Mark Hollis,
Dorothy Ashby,
Subhumans,
Eric Dolphy,
Unwound,
Flash Fearless,
Tubeway Army,
Yusef Lateef,
John Lydon,
Jandek,
Cabaret Voltaire,
Sexual Harrassment,
In Retrospect,
Lucky Dragons,
Eurythmics,
Rotary Connection,
Sound Behaviour,
Lungfish,
Black Moon,
Moebius,
Average White Band,
the Swans,
Henry Cow,
Alice Coltrane,
Johnny Osbourne,
The Grass Roots,
Scan 7,
Eve St. Jones,
Bill Near,
a-ha,
One Last Wish,
Larry & the Blue Notes,
the Association,
EPMD,
The Selecter,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.