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 Denmark and from Beijing.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Bologna.
I'm losing my edge to the art-school Lille 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the marimba sounds with much patience.
I was there when Captain Beefheart 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 Shuggie Otis to the funk kids.
I played it at CBGB's.
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 New Age Steppers. All the underground hits.
All Max Romeo tracks. I heard you have a vinyl of every DJ Sneak record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Agent Orange record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Qualms,
Red Lorry Yellow Lorry,
James White and The Blacks,
Thee Headcoats,
Minutemen,
Delta 5,
U.S. Maple,
X-101,
Oppenheimer Analysis,
Dorothy Ashby,
Heavy D & The Boyz,
Quando Quango,
Johnny Clarke,
Au Pairs,
Gichy Dan,
Minor Threat,
Average White Band,
OOIOO,
Curtis Mayfield,
Jawbox,
Lou Reed,
Hardrive,
Camouflage,
Kerrie Biddell,
Khruangbin,
Sunsets and Hearts,
Hoover,
Eric B and Rakim,
EPMD,
Fela Kuti,
X-Ray Spex,
CMW,
Art Ensemble Of Chicago,
Pierre Henry,
The Walker Brothers,
a-ha,
Alice Coltrane,
Echospace,
Spoonie Gee,
Adolescents,
Panda Bear,
Suicide,
The Smoke,
Saccharine Trust,
Blake Baxter,
Electric Light Orchestra,
The American Breed,
Nas,
E-Dancer,
Peter and Kerry,
Todd Rundgren,
Ajijia Myrayebe,
The Skatalites,
Rhythm & Sound,
The Chocolate Watch Band,
The Toasters,
Black Flag,
T.S.O.L.,
Scratch Acid,
Oneida,
Zapp,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.