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 Bulgaria and from New York.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Edmonton and Glasgow.
I'm losing my edge to the art-school Stockholm 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the 808 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 Crispian St. Peters to the rock 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 the Normal. All the underground hits.
All Anthony Braxton tracks. I heard you have a vinyl of every The Human League 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 '70s cut and another box set from the '70s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Newcleus,
Piero Umiliani,
The Beau Brummels,
Todd Terry,
Frankie Knuckles,
Lower 48,
Electric Light Orchestra,
Ornette Coleman,
Marc Romboy vs. Booka Shade,
Swell Maps,
Altered Images,
Royal Trux,
The Wake,
Michelle Simonal,
Khruangbin,
Marcia Griffiths,
Howard Jones,
Bluetip,
Black Sheep,
Crooked Eye,
Skriet,
Wings,
Scott Walker,
The Fuzztones,
Vladislav Delay,
Skaos,
Lungfish,
Gil Scott-Heron & Brian Jackson,
Jeff Mills,
The Doobie Brothers,
The Trojans,
Harmonia,
The Knickerbockers,
Johnny Osbourne,
The Smoke,
Scott Walker + Sunn O))),
Steve Hackett,
Barry Ungar,
Sugar Minott,
Pierre Henry,
DJ Sneak,
L. Decosne,
Justin Hinds & The Dominoes,
Masters at Work,
Soul II Soul,
Buzzcocks,
Eddi Front,
Colin Newman,
Fela Kuti,
Ossler,
Q and Not U,
F. McDonald,
Groovy Waters,
The Selecter,
The New Christs,
Graham Central Station,
Thompson Twins,
Kas Product,
Derrick May,
DeepChord presents Echospace,
John Lydon,
The American Breed,
Slick Rick,
The Black Dice,
Patti Smith, Patti Smith, Patti Smith, Patti Smith.
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.