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 Yemen and from Philadelphia.
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 1970.
I'm losing my edge.
To all the kids in Milan 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 Selda practice in a loft in Istanbul.
I was working on the spring reverb sounds with much patience.
I was there when Donald Fagen 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 Mission of Burma to the jazz kids.
I played it at the Spitz.
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 Ten City. All the underground hits.
All Pagans tracks. I heard you have a vinyl of every Harmonia record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
ABBA,
The Dirtbombs,
John Lydon,
Wire,
Rakim,
Glenn Branca,
CMW,
K-Klass,
The Toasters,
Lalo Schifrin,
Notorious Big And Bone Thugs,
Eurythmics,
Rhythm & Sound,
Peter Gordon & Love of Life Orchestra,
DNA,
Reuben Wilson,
The Fall,
Electric Light Orchestra,
Orchestral Manoeuvres in the Dark,
The Evens,
Grauzone,
Man Parrish,
Con Funk Shun,
John Coltrane,
Matthew Bourne,
Swell Maps,
The Doobie Brothers,
Grandmaster Flash and the Furious Five,
Gabor Szabo,
Howard Jones,
The Smiths,
Ponytail,
The Remains,
Moby Grape,
Stetsasonic,
B.T. Express,
Todd Rundgren,
The Black Dice,
the Soft Cell,
Kango’s Stein Massive,
Black Bananas,
8 Eyed Spy,
Andrew Hill,
Intrusion,
New Order,
The Sound,
Cluster,
Bobby Sherman,
Metal Thangz,
Johnny Osbourne,
The Busters,
James Chance & The Contortions,
Spoonie Gee,
Liliput,
Bang On A Can,
World's Most,
Pantaleimon,
Godley & Creme,
Morten Harket,
Rosa Yemen,
The Offenders,
Avey Tare & Kría Brekkan,
Jandek, Jandek, Jandek, Jandek.
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.