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 Maldives and from Woodstock.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Delhi and Calgary.
I'm losing my edge to the art-school Accra 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 1973 at the first Television practice in a loft in New York.
I was working on the arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 Gong to the techno 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 OOIOO. All the underground hits.
All Deepchord tracks. I heard you have a vinyl of every Ken Boothe 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 '70s cut and another box set from the '80s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ken Boothe,
Blossom Toes,
Second Layer,
Scion,
Kool G Rap & DJ Polo,
D'Angelo,
Unwound,
Be Bop Deluxe,
Terry Callier,
Youth Brigade,
Supertramp,
R.M.O.,
Oppenheimer Analysis,
Tres Demented,
Marine Girls,
The Sisters of Mercy,
Negative Approach,
U.S. Maple,
Hot Snakes,
Panda Bear,
The Alarm Clocks,
Leonard Cohen,
The Cosmic Jokers,
Carl Craig,
Glenn Branca,
Eve St. Jones,
Pole,
Faust,
The Mojo Men,
David Axelrod,
The Techniques,
Masters at Work,
Guru Guru,
Wally Richardson,
Banda Bassotti,
The Litter,
Fela Kuti,
Rhythm & Sound,
Glambeats Corp.,
Ludus,
Sex Pistols,
John Lydon,
Bizarre Inc.,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Eden Ahbez,
kango's stein massive,
Can,
Lou Christie,
Deadbeat,
The Star Department,
Don Cherry,
Mark Hollis,
Unrelated Segments,
Steve Hackett,
Black Pus,
Lower 48,
The Gladiators,
Marmalade,
48th St. Collective,
The Doors,
Joe Smooth,
Bauhaus, Bauhaus, Bauhaus, Bauhaus.
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.