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 Dominica and from Mumbai.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Bremen and Seoul.
I'm losing my edge to the art-school Johannesburg 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 David Axelrod to the techno 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 The Evens. All the underground hits.
All Peter & Gordon tracks. I heard you have a vinyl of every Blake Baxter record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The West Coast Pop Art Experimental Band,
Marine Girls,
Cluster,
The Seeds,
The Victims,
The Knickerbockers,
Skaos,
X-102,
Junior Murvin,
Jeru the Damaja,
Section 25,
Boogie Down Productions,
The Alarm Clocks,
Darondo,
The Gladiators,
the Normal,
Roxy Music,
Gian Franco Pienzio,
The Leaves,
Lou Reed,
Young Marble Giants,
Dawn Penn,
Sight & Sound,
Rapeman,
Alice Coltrane,
Crime,
Black Moon,
Lyres,
Depeche Mode,
Surgeon,
Jeff Mills,
Tommy Roe,
Pete Rock & C.L. Smooth,
Joensuu 1685,
Howard Jones,
Kango’s Stein Massive,
Deadbeat,
T. Rex,
Notorious Big And Bone Thugs,
Robert Wyatt,
The Doors,
Lucky Dragons,
The Chocolate Watch Band,
Mandrill,
La Düsseldorf,
Monolake,
ABC,
Susan Cadogan,
the Bar-Kays,
Sugar Minott,
Hot Snakes,
Absolute Body Control,
The Walker Brothers,
Glambeats Corp.,
Neil Young,
The Detroit Cobras,
Heavy D & The Boyz,
Ludus,
Franke,
Cymande,
Arab on Radar,
The Tremeloes,
Sam Rivers, Sam Rivers, Sam Rivers, Sam Rivers.
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.