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 Grenada and from Salvador.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Milan and Edmonton.
I'm losing my edge to the art-school Philadelphia 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Soft Machine to the rap kids.
I played it at Trash.
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 Juan Atkins. All the underground hits.
All Blake Baxter tracks. I heard you have a vinyl of every Flamin' Groovies 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 '60s cut and another box set from the '70s.
I hear you're buying a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Arab on Radar record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blossom Toes,
Lyres,
The Walker Brothers,
Ornette Coleman,
Crime,
Von Mondo,
Hashim,
Amazonics,
Agitation Free,
8 Eyed Spy,
Graham Central Station,
The Count Five,
EPMD,
the Normal,
Shoche,
The Leaves,
Fugazi,
New York Dolls,
World's Most,
The Royal Family And The Poor,
DJ Sneak,
Radio Birdman,
Be Bop Deluxe,
Nas,
The Victims,
Gian Franco Pienzio,
Gichy Dan,
The Fire Engines,
Maurizio,
Rekid,
Davy DMX,
The American Breed,
Ponytail,
The Jesus and Mary Chain,
The Trojans,
Icehouse,
Animal Collective,
These Immortal Souls,
Talk Talk,
Notorious BIG live in Amsterdam,
The Gap Band,
Liliput,
Harpers Bizarre,
Hot Snakes,
Rhythm & Sound,
Radiopuhelimet,
Hoover,
Gil Scott-Heron and Jamie xx,
Marc Almond,
Youth Brigade,
Second Layer,
Strawberry Alarm Clock,
The Dead C,
Subhumans,
Little Man,
cv313,
Smog,
The Shadows of Knight,
Infiniti,
The Five Americans,
Darondo,
Drexciya,
Mad Mike,
Sun Ra, Sun Ra, Sun Ra, Sun Ra.
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.