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 Honduras and from Houston.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1969 to 1978.
I'm losing my edge.
To all the kids in Salvador and Winnipeg.
I'm losing my edge to the art-school Delhi 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 arpeggiator 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 David Axelrod to the grime kids.
I played it at the Spitz.
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 Motorama. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every Rahsaan Roland Kirk record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Symarip,
David Bowie,
Tom Boy,
The Five Americans,
Be Bop Deluxe,
Art Ensemble Of Chicago,
Sticky Fingaz feat. Raekwon,
The Cramps,
OOIOO,
Motorama,
Chrome,
Vladislav Delay,
the Sonics,
DNA,
Fad Gadget,
Wally Richardson,
Gang Gang Dance,
Hashim,
Roger Hodgson,
Lalo Schifrin,
Man Parrish,
The Jesus and Mary Chain,
Popol Vuh,
Kayak,
Yazoo,
Subhumans,
E-Dancer,
Ituana,
Ash Ra Tempel,
The Star Department,
Glambeats Corp.,
Moebius,
The Slits,
Beasts of Bourbon,
Laurel Aitken,
Pussy Galore,
The Durutti Column,
David McCallum,
Brand Nubian,
Agent Orange,
Country Teasers,
the Soft Cell,
Tubeway Army,
Joensuu 1685,
Gregory Isaacs,
the Bar-Kays,
R.M.O.,
The Royal Family And The Poor,
Notorious Big And Bone Thugs,
Outsiders,
Isaac Hayes,
Scrapy,
The Beau Brummels,
Harpers Bizarre,
Alphaville,
Deadbeat,
The Velvet Underground,
Avey Tare's Slasher Flicks,
Letta Mbulu,
Avey Tare,
Bobby Hutcherson,
Monks, Monks, Monks, Monks.
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.