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 Macedonia and from New York.
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 1977.
I'm losing my edge.
To all the kids in London and Jakarta.
I'm losing my edge to the art-school Seoul 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Fire Engines to the punk 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 Slick Rick. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every Interpol 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 '70s cut and another box set from the '80s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a New Age Steppers record.
I hear that you and your band have sold your guitar and bought a güiro.
I hear that you and your band have sold your güiro and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
D'Angelo,
Rhythm & Sound,
Clear Light,
KRS-One,
The Monks,
Section 25,
Bang on a Can All-Stars,
Drexciya,
Masters at Work,
The Birthday Party,
the Association,
Youth Brigade,
Derrick Morgan,
a-ha,
Scratch Acid,
Traffic Nightmare,
Scott Walker,
Gregory Isaacs,
Big Daddy Kane,
The Modern Lovers,
Electric Light Orchestra,
Gil Scott-Heron & Brian Jackson,
Bobbi Humphrey,
John Holt,
Sound Behaviour,
Moby Grape,
Sun Ra,
The Star Department,
Monks,
Ronnie Foster,
Man Parrish,
X-102,
Symarip,
Scan 7,
Aaron Thompson,
Art Ensemble Of Chicago,
Marcia Griffiths,
The Fire Engines,
Cecil Taylor,
Roy Ayers Ubiquity,
Lee Hazlewood,
Suburban Knight,
Joey Negro,
Lebanon Hanover,
Deutsch Amerikanische Freundschaft,
Massinfluence,
Unwound,
Deadbeat,
Flipper,
JFA,
Soulsonic Force,
Marc Almond,
Pete Rock & C.L. Smooth,
DJ Sneak,
The Sonics,
Funky Four + One,
Joensuu 1685,
Heavy D & The Boyz,
EPMD,
The Dead C,
Ultra Naté,
Icehouse,
Black Bananas, Black Bananas, Black Bananas, Black Bananas.
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.