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 Macedonia and from Lagos.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Lyon and Winnipeg.
I'm losing my edge to the art-school Columbus 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the chamberlin 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 Captain Beefheart & His Magic Band to the punk kids.
I played it at the Hacienda.
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 Gap Band. All the underground hits.
All Das Ding tracks. I heard you have a vinyl of every Chris & Cosey record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Urselle,
The Doobie Brothers,
Crime,
Pulsallama,
Kaleidoscope,
Dorothy Ashby,
Godley & Creme,
The Misunderstood,
John Coltrane,
Rhythm & Sound,
The Wake,
Make Up,
The United States of America,
Bill Near,
Symarip,
The Human League,
Slick Rick,
Aaron Thompson,
Grandmaster Flash,
CMW,
the Soft Cell,
De La Soul & Jungle Brothers,
Nik Kershaw,
Youth Brigade,
The Dave Clark Five,
The Move,
Organ,
The Cowsills,
Index,
T.S.O.L.,
Sun Ra Arkestra,
Dark Day,
Gian Franco Pienzio,
It's A Beautiful Day,
Nas,
Byron Stingily,
Bobbi Humphrey,
Todd Terry,
Smog,
Blancmange,
Notorious Big And Bone Thugs,
Bobby Sherman,
Khruangbin,
Davy DMX,
Gong,
The Leaves,
Colin Newman,
The Modern Lovers,
Barry Ungar,
Tom Boy,
Lower 48,
Marmalade,
Jawbox,
Rosa Yemen,
Joyce Sims,
The Durutti Column,
Essential Logic,
John Lydon,
Quadrant,
Severed Heads,
The Techniques, The Techniques, The Techniques, The Techniques.
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.