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 El Salvador and from Mexico City.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Tehran.
I'm losing my edge to the art-school Accra 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the chamberlin 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 Excepter to the grunge 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 Derrick Morgan. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every The Fortunes record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques 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?
La Düsseldorf,
Wings,
The Durutti Column,
Tropical Tobacco,
The Star Department,
Charles Mingus,
Pulsallama,
Lonnie Liston Smith,
Metal Thangz,
Von Mondo,
MDC,
Röyhkä ja Rättö ja Lehtisalo,
Lou Christie,
Pylon,
Symarip,
R.M.O.,
Oneida,
Eden Ahbez,
Little Man,
The Flesh Eaters,
The Fortunes,
Siouxsie and the Banshees,
Arcadia,
David Bowie,
the Swans,
Saccharine Trust,
The Monochrome Set,
Tim Buckley,
Agent Orange,
Gang Gang Dance,
Ultramagnetic MC's,
Robert Wyatt,
Rhythm & Sound,
10cc,
Organ,
Black Moon,
Ludus,
Arab on Radar,
Marc Romboy vs. Booka Shade,
Cheater Slicks,
Visionaries,LMNO, T- Love & Iriscience,
Vladislav Delay,
World's Most,
Lalo Schifrin,
the Sonics,
Eric Dolphy,
The Mojo Men,
Los Fastidios,
Tubeway Army,
Rufus Thomas,
Pharaoh Sanders and the Fire Engines,
Television Personalities,
Moby Grape,
Ultra Naté,
Warren Ellis,
Y Pants,
Dorothy Ashby,
Leonard Cohen,
Dual Sessions,
Scott Walker,
DJ Sneak,
Peter and Kerry, Peter and Kerry, Peter and Kerry, Peter and Kerry.
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.