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 Grenada 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 1968 to 1976.
I'm losing my edge.
To all the kids in Lyon and Shanghai.
I'm losing my edge to the art-school Edmonton 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 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 The Zeros to the grime kids.
I played it at the Spitz.
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 Aaron Thompson. All the underground hits.
All The Happenings tracks. I heard you have a vinyl of every Khruangbin record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Associates,
Drexciya,
Rahsaan Roland Kirk,
Altered Images,
Technova,
Eden Ahbez,
Wings,
The Mummies,
Rowland S Howard / Lydia Lunch,
Oppenheimer Analysis,
Danielle Patucci,
X-102,
Gil Scott-Heron and Jamie xx,
Fat Boys,
Duran Duran,
Hot Snakes,
Camouflage,
Derrick Morgan,
Derrick May,
Bill Wells,
Scrapy,
Robert Görl,
Desert Stars,
June of 44,
Judy Mowatt,
Carl Craig,
Blake Baxter,
Lou Christie,
the Bar-Kays,
Newcleus,
Grauzone,
Half Japanese,
T. Rex,
Pierre Henry,
Y Pants,
David McCallum,
Archie Shepp,
Warsaw,
Sister Nancy,
Qualms,
The Selecter,
Spandau Ballet,
The Index,
Index,
The Shadows of Knight,
Rotary Connection,
Nation of Ulysses,
The Modern Lovers,
Crispy Ambulance,
Blancmange,
The West Coast Pop Art Experimental Band,
The Invisible,
Avey Tare & Kría Brekkan,
Man Eating Sloth,
Camron Feat. Jay Z And Juelz,
Funkadelic,
Roy Ayers Ubiquity,
Khruangbin,
Bang On A Can,
Accadde A,
Slick Rick, Slick Rick, Slick Rick, Slick Rick.
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.