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 Kuwait and from Winnipeg.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1978.
I'm losing my edge.
To all the kids in Johannesburg and Accra.
I'm losing my edge to the art-school Sao Paulo 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 The Smiths to the crunk 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 Minny Pops. All the underground hits.
All The Cure tracks. I heard you have a vinyl of every Anakelly 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 '80s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sly & The Family Stone record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The United States of America,
Siglo XX,
June Days,
Suburban Knight,
Moebius,
Agent Orange,
Carl Craig,
Magazine,
Bobby Sherman,
Qualms,
Yusef Lateef,
Aaron Thompson,
EPMD,
Bootsy's Rubber Band,
Arthur Verocai,
The Victims,
Fort Wilson Riot,
Los Fastidios,
Marcia Griffiths,
Amon Düül II,
Eric B and Rakim,
Nils Olav,
Manfred Mann's Earth Band,
Rekid,
Joe Smooth,
Erykah Badu,
Piero Umiliani,
Idris Muhammad,
Pierre Henry,
JFA,
Derrick May,
Clear Light,
Eurythmics,
The Saints,
cv313,
Mandrill,
Smog,
Fad Gadget,
Bill Wells,
The Monks,
Vaughan Mason & Crew,
Minnie Riperton,
Wighnomy Brothers & Robag Wruhme,
Crash Course in Science,
Pere Ubu,
DNA,
The Walker Brothers,
Beasts of Bourbon,
Jeru the Damaja,
Janne Schatter,
Ossler,
Cal Tjader,
Laurel Aitken,
T. Rex,
Notorious Big And Bone Thugs,
Eli Mardock,
Connie Case,
Crime,
Gregory Isaacs,
Soft Machine,
Louis and Bebe Barron,
Brothers Johnson,
Patti Smith,
Eddi Front,
The Buckinghams, The Buckinghams, The Buckinghams, The Buckinghams.
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.