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 Belize and from Portland.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Edmonton and Philadelphia.
I'm losing my edge to the art-school Tokyo 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 clarinet sounds with much patience.
I was there when Tom Verlaine 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 Lalann to the disco kids.
I played it at Trash.
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 Procol Harum. All the underground hits.
All Nik Kershaw tracks. I heard you have a vinyl of every Echospace record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eddi Front,
Bootsy Collins,
Negative Approach,
Lower 48,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Skriet,
The Buckinghams,
The Mojo Men,
F. McDonald,
Richard Hell and the Voidoids,
The Detroit Cobras,
Model 500,
Big Daddy Kane,
The Pretty Things,
Bauhaus,
Alton Ellis,
Spoonie Gee,
Chris & Cosey,
Intrusion,
Newcleus,
Kevin Saunderson,
Simply Red,
Swans,
Camron Feat. Memphis Bleek And Beenie Seigel,
Blossom Toes,
Major Organ And The Adding Machine,
Lungfish,
Fluxion,
The Vogues,
Tim Buckley,
The Fuzztones,
Excepter,
Masters at Work,
Magma,
Lightning Bolt,
Liliput,
Brass Construction,
48th St. Collective,
Fatback Band,
New Age Steppers,
Goldenarms,
Lalann,
Joe Smooth,
Fear,
Suburban Knight,
Bang On A Can,
Avey Tare's Slasher Flicks,
The Offenders,
Sandy B,
Avey Tare & Kría Brekkan,
Kayak,
Dorothy Ashby,
Red Lorry Yellow Lorry,
Rekid,
Cybotron,
Alice Coltrane,
James White and The Blacks,
The Birthday Party,
the Fania All-Stars,
Gang Gang Dance,
Lizzy Mercier Descloux,
Tubeway Army, Tubeway Army, Tubeway Army, Tubeway Army.
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.