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 Cuba and from Johannesburg.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Bologna and Seoul.
I'm losing my edge to the art-school Paris 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 1984 at the first Arcadia practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when David Bowie 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 the Sonics to the rock kids.
I played it at the Troubador.
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 Kurtis Blow. All the underground hits.
All Sun Ra Arkestra tracks. I heard you have a vinyl of every Drexciya 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 '70s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy's Rubber Band record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
Porter Ricks,
Absolute Body Control,
Gil Scott Heron,
Althea and Donna,
Saccharine Trust,
Nick Fraelich,
Rhythim Is Rhythim,
Thinking Fellers Union Local 282,
Cecil Taylor,
UT,
Slave,
Todd Terry,
Ronnie Foster,
Girls At Our Best!,
The Cramps,
Suburban Knight,
The Gladiators,
Kas Product,
Siglo XX,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Little Man,
Crooked Eye,
Major Organ And The Adding Machine,
Lucky Dragons,
China Crisis,
Connie Case,
Gang Gang Dance,
Anakelly,
Avey Tare & Kría Brekkan,
Underground Resistance,
Television Personalities,
Peter Gordon & Love of Life Orchestra,
Hashim,
Eli Mardock,
Joyce Sims,
Ice-T,
Fifty Foot Hose,
The J.B.'s,
Maleditus Sound,
Hoover,
Gregory Isaacs,
James White and The Blacks,
the Normal,
The Dirtbombs,
Royal Trux,
Tropical Tobacco,
Loose Ends,
The Wake,
The Tremeloes,
Public Enemy,
Brass Construction,
The Index,
The Buckinghams,
Lou Reed & John Cale,
Bang on a Can All-Stars,
Max Romeo,
The Evens,
Soulsonic Force,
Q and Not U,
The Count Five,
Erasure,
Curtis Mayfield,
Kayak, Kayak, Kayak, Kayak.
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.