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 Moldova and from Lagos.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Seoul and Lyon.
I'm losing my edge to the art-school Bremen 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the synthesizer sounds with much patience.
I was there when David Bowie 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 Bootsy Collins to the rap kids.
I played it at the Hacienda.
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 Byron Stingily. All the underground hits.
All Notorious Big And Bone Thugs tracks. I heard you have a vinyl of every Outsiders 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 '70s cut and another box set from the '70s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
Yellowson,
MC5,
The New Christs,
Organ,
Jesper Dahlbäck,
Parry Music,
Heavy D & The Boyz,
The Grass Roots,
Neu!,
Echospace,
The Men They Couldn't Hang,
the Normal,
D'Angelo,
Rufus Thomas,
The Selecter,
The Moleskins,
Scion,
Magazine,
Röyhkä ja Rättö ja Lehtisalo,
Beasts of Bourbon,
Bobbi Humphrey,
Minny Pops,
Johnny Clarke,
Flash Fearless,
Stockholm Monsters,
JFA,
The Count Five,
Maurizio,
Sun Ra,
Jerry's Kids,
Ronnie Foster,
Slave,
Teenage Jesus and the Jerks,
Bobby Sherman,
New Order,
Smog,
John Cale,
Camron Feat. Memphis Bleek And Beenie Seigel,
K-Klass,
Robert Wyatt,
Don Cherry,
Wolf Eyes,
Anakelly,
Marshall Jefferson,
Fluxion,
Mad Mike,
Rapeman,
It's A Beautiful Day,
John Foxx,
Archie Shepp,
Gastr Del Sol,
Tim Buckley,
Be Bop Deluxe,
In Retrospect,
Eric B and Rakim,
Kevin Saunderson,
Cameo,
Nas,
Tomorrow,
Andrew Ashong & Theo Parrish,
Unrelated Segments,
Boogie Down Productions,
Quadrant, Quadrant, Quadrant, Quadrant.
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.