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 Turkmenistan and from Madrid.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Glasgow and Woodstock.
I'm losing my edge to the art-school Tokyo 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the spring reverb sounds with much patience.
I was there when Lou Reed 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 Dr. Dre and Snoop Doggy Dog to the crunk kids.
I played it at the 40 Watt.
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 Bad Manners. All the underground hits.
All The Associates tracks. I heard you have a vinyl of every Kool Moe Dee 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 '50s cut and another box set from the '70s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Letta Mbulu record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
Das Ding,
Hashim,
Glambeats Corp.,
The Alarm Clocks,
DNA,
Mandrill,
James Chance & The Contortions,
Ajijia Myrayebe,
Janne Schatter,
Altered Images,
Niagra,
Barry Ungar,
The Cosmic Jokers,
Jeru the Damaja,
Chris Corsano,
Arab on Radar,
Delta 5,
Darondo,
Avey Tare,
Ohio Players,
The Offenders,
X-101,
Lou Christie,
Thinking Fellers Union Local 282,
Desert Stars,
Dead Boys,
The Fuzztones,
The Sisters of Mercy,
Sun Ra,
Agent Orange,
Smog,
David McCallum,
Soulsonic Force,
The Red Krayola,
T. Rex,
Eric Dolphy,
The Litter,
Throbbing Gristle,
Anakelly,
Sex Pistols,
Robert Hood,
U.S. Maple,
The Misunderstood,
Cameo,
In Retrospect,
Yellowson,
The Move,
The Invisible,
Toni Rubio,
Roger Hodgson,
Wings,
Johnny Osbourne,
The Names,
Rapeman,
Stockholm Monsters,
Big Daddy Kane,
The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band.
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.