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 Bahamas and from Toronto.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Jakarta and Beijing.
I'm losing my edge to the art-school Beijing 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Marine Girls to the funk kids.
I played it at the Astoria.
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 Martian. All the underground hits.
All Bang On A Can tracks. I heard you have a vinyl of every Vladislav Delay record on German import.
I heard that you have a white label of every seminal funk 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 an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a This Heat record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harmonia,
Popol Vuh,
The Beau Brummels,
Jesper Dahlbäck,
Boogie Down Productions,
Skarface,
Lalo Schifrin,
The Royal Family And The Poor,
Sex Pistols,
ABBA,
Tears for Fears,
The Zeros,
Juan Atkins,
Dorothy Ashby,
Slave,
Terrestrial Tones,
Donny Hathaway,
Sonny Sharrock,
Fat Boys,
T. Rex,
Half Japanese,
Minnie Riperton,
Tubeway Army,
Todd Terry,
The United States of America,
Scott Walker + Sunn O))),
Gong,
Moss Icon,
The Chocolate Watch Band,
Sixth Finger,
Notorious Big And Bone Thugs,
Sonic Youth,
Kerri Chandler,
Little Man,
PIL,
Kauko Röyhkä ja Narttu,
Eden Ahbez,
Franke,
Nico,
Con Funk Shun,
Robert Hood,
Kool G Rap & DJ Polo,
Sly & The Family Stone,
Harpers Bizarre,
Gang Green,
Ajijia Myrayebe,
Swans,
Junior Murvin,
R.M.O.,
The Knickerbockers,
Mission of Burma,
Public Image Ltd.,
The Jesus and Mary Chain,
The Sonics,
The Black Dice,
The Peanut Butter Conspiracy,
Andrew Hill,
Sällskapet,
L. Decosne,
Underground Resistance,
Susan Cadogan,
Roy Ayers Ubiquity,
The Fuzztones, The Fuzztones, The Fuzztones, The Fuzztones.
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.