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 Sweden and from Sao Paulo.
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 1976.
I'm losing my edge.
To all the kids in Cairo and Sao Paulo.
I'm losing my edge to the art-school Lyon 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 1978 at the first Visage practice in a loft in London.
I was working on the 808 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 The Zeros to the techno kids.
I played it at CBGB's.
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 Quantec. All the underground hits.
All The Modern Lovers tracks. I heard you have a vinyl of every Henry Cow record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Pete Rock & C.L. Smooth record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T. Rex,
The Dirtbombs,
The Sisters of Mercy,
Brick,
Stockholm Monsters,
Alice Coltrane,
Lightning Bolt,
The Remains,
Bluetip,
The Music Machine,
Ponytail,
Bang on a Can All-Stars,
Patti Smith,
Liaisons Dangereuses,
Hashim,
Con Funk Shun,
Funkadelic,
Sun Ra,
Masters at Work,
Japan,
Alphaville,
Ultramagnetic MC's,
Ludus,
Jerry Gold Smith,
The Star Department,
John Coltrane,
LL Cool J,
Ronnie Foster,
Porter Ricks,
Charles Mingus,
X-Ray Spex,
The Smoke,
Michelle Simonal,
Gabor Szabo,
Country Teasers,
D'Angelo,
Popol Vuh,
Bobby Hutcherson,
Bill Wells,
F. McDonald,
Moss Icon,
Television,
Radiopuhelimet,
A Certain Ratio,
The Angels of Light,
The Trojans,
Sound Behaviour,
the Fania All-Stars,
Funky Four + One,
Robert Görl,
Bill Near,
China Crisis,
Lou Reed,
Albert Ayler,
The United States of America,
Kas Product,
Rites of Spring,
Jesper Dahlback,
the Association,
Avey Tare & Kría Brekkan,
Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron.
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.