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 Japan and from Spokane.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Houston and London.
I'm losing my edge to the art-school Seoul 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the rhodes sounds with much patience.
I was there when Tom Verlaine 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 Kurtis Blow to the rock 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 Donald Byrd. All the underground hits.
All Letta Mbulu tracks. I heard you have a vinyl of every Sunsets and Hearts record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Model 500 record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
K-Klass,
Neil Young & Crazy Horse,
Joe Finger,
The New Christs,
Robert Wyatt,
Desert Stars,
Deepchord,
Derrick May,
The Pop Group,
Stiv Bators,
Graham Central Station,
Harpers Bizarre,
John Foxx,
Qualms,
Silicon Teens,
Lonnie Liston Smith,
The Music Machine,
X-101,
The Index,
Aloha Tigers,
Bobbi Humphrey,
Cameo,
Lalo Schifrin,
Von Mondo,
Shoche,
Sun Ra,
Peter Gordon & Love of Life Orchestra,
Henry Cow,
Dual Sessions,
Rufus Thomas,
The Star Department,
Ultravox,
The Gun Club,
KRS-One,
The Doobie Brothers,
Joyce Sims,
Suburban Knight,
The Dave Clark Five,
Lakeside,
The Barracudas,
Groovy Waters,
The Wake,
Quando Quango,
June of 44,
John Coltrane,
JFA,
Glenn Branca,
Bizarre Inc.,
Jacques Brel,
Kayak,
Reagan Youth,
Kevin Saunderson,
Flamin' Groovies,
Jesper Dahlback,
Icehouse,
China Crisis,
Chris Corsano,
Chris & Cosey,
The Cramps,
The Selecter, The Selecter, The Selecter, The Selecter.
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.