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 Ivory Coast and from Accra.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Beijing and Delhi.
I'm losing my edge to the art-school London 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the mellotron sounds with much patience.
I was there when Robert Palmer 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 Public Enemy to the disco kids.
I played it at the Troubador.
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 Joe Finger. All the underground hits.
All Andrew Hill tracks. I heard you have a vinyl of every London Community Gospel Choir record on German import.
I heard that you have a white label of every seminal techno 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 a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Connie Case record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nirvana,
Beasts of Bourbon,
Althea and Donna,
Todd Terry,
Alton Ellis,
The Seeds,
Suicide,
The Birthday Party,
Eve St. Jones,
Girls At Our Best!,
The Alarm Clocks,
Cheater Slicks,
Marc Almond,
Kings Of Tomorrow,
Pussy Galore,
James Chance & The Contortions,
Laurel Aitken,
Nils Olav,
Sunsets and Hearts,
Mars,
Howard Jones,
the Association,
Toni Rubio,
Sly & The Family Stone,
Brothers Johnson,
The Sisters of Mercy,
Rhythim Is Rhythim,
The Divine Comedy,
The Trojans,
Fear,
Funky Four + One,
Joe Smooth,
Black Pus,
Fat Boys,
The Cramps,
Lafayette Afro Rock Band,
The Dirtbombs,
Sixth Finger,
Fort Wilson Riot,
Scratch Acid,
Porter Ricks,
Nick Fraelich,
Gil Scott-Heron and Jamie xx,
John Cale,
Ash Ra Tempel,
Pharoah Sanders,
New York Dolls,
Pulsallama,
La Düsseldorf,
Scott Walker + Sunn O))),
Don Cherry,
Aaron Thompson,
A Certain Ratio,
Los Fastidios,
The Invisible,
Maleditus Sound,
Aloha Tigers,
Godley & Creme,
Gary Puckett & The Union Gap,
EPMD,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.