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 Belize and from Salvador.
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 1975.
I'm losing my edge.
To all the kids in Stockholm and Philadelphia.
I'm losing my edge to the art-school Bremen 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed 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 Bootsy Collins to the funk kids.
I played it at the 40 Watt.
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 Warren Ellis. All the underground hits.
All D'Angelo tracks. I heard you have a vinyl of every Gil Scott-Heron & Brian Jackson record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Crash Course in Science record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sound Behaviour,
Scratch Acid,
The Detroit Cobras,
Grandmaster Flash and the Furious Five,
Soul II Soul,
Jesper Dahlback,
Half Japanese,
Fad Gadget,
Sällskapet,
cv313,
Animal Collective,
Moby Grape,
Dual Sessions,
Sarah Menescal,
Mary Jane Girls,
48th St. Collective,
the Bar-Kays,
The Fortunes,
Gabor Szabo,
The Jesus and Mary Chain,
Youth Brigade,
Mandrill,
Cymande,
Fifty Foot Hose,
One Last Wish,
Kool G Rap & DJ Polo,
Pulsallama,
Mantronix,
Donny Hathaway,
Soft Machine,
Ultravox,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
New York Dolls,
Donald Byrd,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
ABC,
Whodini,
Soulsonic Force,
John Lydon,
Neil Young,
The Buckinghams,
Blancmange,
Sunsets and Hearts,
Neu!,
CMW,
June Days,
L. Decosne,
Audionom,
Lindisfarne,
Skriet,
Harpers Bizarre,
The Neon Judgement,
Marvin Gaye,
Camron Feat. Memphis Bleek And Beenie Seigel,
Guru Guru,
Siouxsie and the Banshees,
Avey Tare & Kría Brekkan,
Bluetip,
Wings,
Harmonia,
Richard Hell and the Voidoids,
Heaven 17,
Delon & Dalcan,
The Durutti Column, The Durutti Column, The Durutti Column, The Durutti Column.
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.