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 Honduras and from Jakarta.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Mexico City.
I'm losing my edge to the art-school Paris 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 arpeggiator 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 Alton Ellis to the electroclash 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 Eyeless In Gaza. All the underground hits.
All Nils Olav tracks. I heard you have a vinyl of every Los Fastidios 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 '80s cut and another box set from the '80s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Danielle Patucci record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Grass Roots,
Mad Mike,
Anakelly,
The Royal Family And The Poor,
Brass Construction,
The Stooges,
Gil Scott-Heron and Jamie xx,
Vaughan Mason & Crew,
Intrusion,
Charles Mingus,
Audionom,
Babytalk,
Ultra Naté,
The Cramps,
Juan Atkins,
It's A Beautiful Day,
The Fire Engines,
Brothers Johnson,
Letta Mbulu,
Reagan Youth,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Goldenarms,
Eli Mardock,
Fort Wilson Riot,
Guru Guru,
Jesper Dahlbäck,
The Buckinghams,
Bobby Hutcherson,
Smog,
Jeru the Damaja,
The Electric Prunes,
Joey Negro,
Sun Ra,
D'Angelo,
Hot Snakes,
The Gories,
Kings Of Tomorrow,
Orchestral Manoeuvres in the Dark,
Crooked Eye,
The Vogues,
Joe Finger,
Chris & Cosey,
K-Klass,
Man Parrish,
Eve St. Jones,
Be Bop Deluxe,
Shoche,
Laurel Aitken,
Siglo XX,
L. Decosne,
the Germs,
Nirvana,
Mary Jane Girls,
Crash Course in Science,
Joyce Sims,
Lonnie Liston Smith,
Moss Icon,
Gregory Isaacs,
Quando Quango,
The Alarm Clocks,
Tom Boy,
Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants.
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.