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 France and from Copenhagen.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Toronto.
I'm losing my edge to the art-school Seoul 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the 808 sounds with much patience.
I was there when Captain Beefheart 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 Roy Ayers Ubiquity to the disco kids.
I played it at the Roxy.
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 Arthur Verocai. All the underground hits.
All Chris & Cosey tracks. I heard you have a vinyl of every Girls At Our Best! record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Sheep,
Lou Reed,
Terrestrial Tones,
Japan,
Hardrive,
Rod Modell,
The American Breed,
Letta Mbulu,
Big Daddy Kane,
Siouxsie and the Banshees,
Deadbeat,
Art Ensemble Of Chicago,
Bobby Womack,
The Sound,
The Skatalites,
The Mummies,
The Black Dice,
Joe Finger,
The Move,
Kauko Röyhkä ja Narttu,
Kerri Chandler,
Motorama,
Con Funk Shun,
Stereo Dub,
Althea and Donna,
Parry Music,
Ituana,
Boz Scaggs,
Cecil Taylor,
Bauhaus,
The J.B.'s,
Bad Manners,
Scientists,
Eli Mardock,
Pylon,
Lebanon Hanover,
Slave,
The West Coast Pop Art Experimental Band,
Ultimate Spinach,
De La Soul & Jungle Brothers,
Scott Walker + Sunn O))),
The Zeros,
kango's stein massive,
Ronnie Foster,
Mars,
Sun City Girls,
Public Enemy,
The Sonics,
Robert Görl,
Jandek,
Gian Franco Pienzio,
Don Cherry,
Metal Thangz,
Scott Walker,
Gabor Szabo,
Visage,
Prince Buster,
La Düsseldorf, La Düsseldorf, La Düsseldorf, La Düsseldorf.
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.