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 Serbia and from Beijing.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1979.
I'm losing my edge.
To all the kids in Accra and Cairo.
I'm losing my edge to the art-school Lagos 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 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 Alice Coltrane to the grunge kids.
I played it at Cafe Wha.
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 Rufus Thomas. All the underground hits.
All Adolescents tracks. I heard you have a vinyl of every Moebius record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a X-102 record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Vogues,
Letta Mbulu,
Sex Pistols,
Moss Icon,
The Fugs,
Kas Product,
Marine Girls,
Aaron Thompson,
Lonnie Liston Smith,
Kerrie Biddell,
Boogie Down Productions,
The Associates,
De La Soul & Jungle Brothers,
Loose Ends,
Don Cherry,
The Pop Group,
Notorious Big And Bone Thugs,
Pete Rock & C.L. Smooth,
The J.B.'s,
Jimmy McGriff,
The Stooges,
Wire,
Supertramp,
Minor Threat,
Mo-Dettes,
Television,
Sarah Menescal,
The Cosmic Jokers,
Funky Four + One,
Alton Ellis,
Deakin,
Marc Romboy vs. Booka Shade,
Procol Harum,
the Germs,
Black Flag,
Quadrant,
The Real Kids,
Newcleus,
The United States of America,
Mad Mike,
Thompson Twins,
The Slits,
X-102,
The Leaves,
Popol Vuh,
The Fortunes,
Jacques Brel,
DJ Style,
Trumans Water,
DNA,
Quantec,
Lebanon Hanover,
Amon Düül II,
The Durutti Column,
Rhythim Is Rhythim,
Electric Prunes,
Eddi Front,
ABC,
Gerry Rafferty,
Make Up,
Major Organ And The Adding Machine,
Deadbeat, Deadbeat, Deadbeat, Deadbeat.
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.