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 Ethiopia 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 1965 to 1978.
I'm losing my edge.
To all the kids in Lagos and Lyon.
I'm losing my edge to the art-school Shanghai 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the güiro 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 Camron Feat. Memphis Bleek And Beenie Seigel to the electroclash kids.
I played it at the Roxy.
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 Steve Hackett. All the underground hits.
All Khruangbin tracks. I heard you have a vinyl of every Derrick Morgan 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 synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a CMW record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
Heaven 17,
Make Up,
Slick Rick,
Buzzcocks,
Eric Dolphy,
Dave Gahan,
Fad Gadget,
The Techniques,
Soft Machine,
Symarip,
Cameo,
Chris & Cosey,
Maleditus Sound,
Royal Trux,
Magazine,
Be Bop Deluxe,
June of 44,
Nils Olav,
Flash Fearless,
Au Pairs,
The Jesus and Mary Chain,
Whodini,
Guru Guru,
the Bar-Kays,
Marmalade,
Byron Stingily,
Thompson Twins,
DNA,
Eyeless In Gaza,
Mars,
Skarface,
Funkadelic,
Dual Sessions,
Motorama,
Visionaries,LMNO, T- Love & Iriscience,
Beasts of Bourbon,
Glambeats Corp.,
Flamin' Groovies,
Todd Terry,
The Martian,
Grandmaster Flash and the Furious Five,
Jimmy McGriff,
Kas Product,
Groovy Waters,
Letta Mbulu,
Amon Düül II,
Don Cherry,
Echospace,
Liaisons Dangereuses,
Aural Exciters,
Deutsch Amerikanische Freundschaft,
The New Christs,
Sarah Menescal,
Jacques Brel,
Aaron Thompson,
Josef K,
Radiopuhelimet,
Rufus Thomas,
The Pretty Things,
Blossom Toes,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.