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 Cambodia and from Glasgow.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1965 to 1976.
I'm losing my edge.
To all the kids in Accra and Mexico City.
I'm losing my edge to the art-school Jakarta 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 theremin sounds with much patience.
I was there when Donald Fagen 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 Cecil Taylor to the disco 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 Underground Resistance. All the underground hits.
All ABC tracks. I heard you have a vinyl of every The Dead C record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lonnie Liston Smith,
The Move,
Sad Lovers and Giants,
Boz Scaggs,
Adolescents,
Sixth Finger,
The Seeds,
The Pop Group,
Bauhaus,
Girls At Our Best!,
Popol Vuh,
Jacob Miller,
The Buckinghams,
KRS-One,
Throbbing Gristle,
Soul Sonic Force,
World's Most,
Howard Jones,
The Smoke,
Hoover,
Godley & Creme,
Yazoo,
Rahsaan Roland Kirk,
Robert Görl,
The Zeros,
Cheater Slicks,
Traffic Nightmare,
Spoonie Gee,
Grandmaster Flash and the Furious Five,
Soulsonic Force,
Symarip,
Excepter,
Reagan Youth,
Newcleus,
Joe Finger,
Bob Dylan,
Laurel Aitken,
Franke,
Eli Mardock,
Pylon,
It's A Beautiful Day,
Porter Ricks,
Max Romeo,
AZ,
Livin' Joy,
Beasts of Bourbon,
Television,
Bobby Sherman,
Ludus,
Gregory Isaacs,
Radiopuhelimet,
The Gories,
Fort Wilson Riot,
Technova,
Sarah Menescal,
Scientists,
The Techniques,
Sound Behaviour,
Warsaw,
Rod Modell,
Jeff Mills,
David Axelrod,
Michelle Simonal,
Idris Muhammad, Idris Muhammad, Idris Muhammad, Idris Muhammad.
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.