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 Poland and from Johannesburg.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Toronto and Accra.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the 808 sounds with much patience.
I was there when Donald Fagen 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 Eve St. Jones to the punk 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 Grandmaster Flash and the Furious Five. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every Wolf Eyes record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine 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?
Davy DMX,
Absolute Body Control,
London Community Gospel Choir,
The Star Department,
Jerry's Kids,
Supertramp,
Bronski Beat,
Gary Puckett & The Union Gap,
Arab on Radar,
Wolf Eyes,
Tom Boy,
Alison Limerick,
Michelle Simonal,
The Blues Magoos,
Sunsets and Hearts,
Man Eating Sloth,
Howard Jones,
Lindisfarne,
Lee Hazlewood,
Piero Umiliani,
John Coltrane,
Saccharine Trust,
Reuben Wilson,
Ash Ra Tempel,
Slick Rick,
Grandmaster Flash,
cv313,
The Shadows of Knight,
Clear Light,
Simply Red,
Crispian St. Peters,
The Mummies,
Basic Channel,
Quantec,
Erykah Badu,
Joe Finger,
Zapp,
The Moody Blues,
Funky Four + One,
Bad Manners,
Electric Light Orchestra,
Soul Sonic Force,
Robert Wyatt,
James Chance & The Contortions,
Heavy D & The Boyz,
Q65,
Kayak,
Judy Mowatt,
Bootsy Collins,
Agent Orange,
Dorothy Ashby,
Eyeless In Gaza,
Byron Stingily,
Amazonics,
Whodini,
Vladislav Delay,
Sonic Youth,
MC5,
Siglo XX,
Parry Music,
Bluetip,
Don Cherry,
Soulsonic Force, Soulsonic Force, Soulsonic Force, Soulsonic Force.
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.