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 Kiribati and from Copenhagen.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Halifax and Mexico City.
I'm losing my edge to the art-school Tokyo 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 arpeggiator 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 Cecil Taylor to the crunk kids.
I played it at the Crocodile.
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 Television. All the underground hits.
All The Martian tracks. I heard you have a vinyl of every Ituana 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 '80s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Camberwell Now record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Standells,
Avey Tare & Kría Brekkan,
Lightning Bolt,
Kerri Chandler,
The Cramps,
Symarip,
Todd Rundgren,
Louis and Bebe Barron,
Ultravox,
Clear Light,
David Axelrod,
Ludus,
Eli Mardock,
R.M.O.,
Manfred Mann's Earth Band,
Tommy Roe,
Crispian St. Peters,
New Age Steppers,
Accadde A,
The Blackbyrds,
Oppenheimer Analysis,
Trumans Water,
Darondo,
Peter Gordon & Love of Life Orchestra,
Zero Boys,
Marmalade,
The Chocolate Watch Band,
the Normal,
The Kinks,
James White and The Blacks,
The Pop Group,
The Searchers,
Sam Rivers,
Terry Callier,
Suburban Knight,
Pussy Galore,
Siglo XX,
Pere Ubu,
Youth Brigade,
Idris Muhammad,
the Bar-Kays,
Liaisons Dangereuses,
Blake Baxter,
Lee Hazlewood,
Wasted Youth,
The Victims,
Alison Limerick,
Carl Craig,
China Crisis,
The Misunderstood,
The Red Krayola,
Sight & Sound,
Isaac Hayes,
Roy Ayers Ubiquity,
Whodini,
Moebius,
Excepter,
The Monks,
Altered Images,
Angry Samoans,
Vladislav Delay,
Althea and Donna, Althea and Donna, Althea and Donna, Althea and Donna.
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.