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 New Zealand and from Columbus.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1968 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Bremen.
I'm losing my edge to the art-school Mexico City 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the marimba 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 Bang On A Can to the grime 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 Vaughan Mason & Crew. All the underground hits.
All Michelle Simonal tracks. I heard you have a vinyl of every The Golliwogs record on German import.
I heard that you have a white label of every seminal techno 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 güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a PIL record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mars,
the Sonics,
The Martian,
the Normal,
Animal Collective,
Lizzy Mercier Descloux,
Echo & the Bunnymen,
Procol Harum,
Bill Wells,
Heavy D & The Boyz,
The Offenders,
DeepChord presents Echospace,
Rhythm & Sound,
Bluetip,
Byron Stingily,
Roy Ayers Ubiquity,
Rowland S Howard / Lydia Lunch,
Spoonie Gee,
Lucky Dragons,
The Evens,
Nas,
David Bowie,
Organ,
Pete Rock & C.L. Smooth,
Warsaw,
Model 500,
Notorious Big And Bone Thugs,
Derrick Morgan,
Rosa Yemen,
Marmalade,
The Sonics,
Lalann,
H. Thieme,
Röyhkä ja Rättö ja Lehtisalo,
Rapeman,
Agitation Free,
Faust,
Tomorrow,
Yusef Lateef,
Crispy Ambulance,
Scientists,
Scrapy,
Mary Jane Girls,
Deepchord,
Accadde A,
The Shadows of Knight,
Larry & the Blue Notes,
Kenny Larkin,
Spandau Ballet,
Bauhaus,
Rakim,
The Cramps,
Sixth Finger,
Bizarre Inc.,
Gil Scott-Heron & Brian Jackson,
The Fortunes,
Joe Smooth,
Marshall Jefferson,
Harmonia,
The Count Five,
Desert Stars,
The Gap Band,
John Lydon,
Excepter, Excepter, Excepter, Excepter.
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.