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 Korea North and from Paris.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Cairo and Spokane.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the synthesizer 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 Thompson Twins to the funk kids.
I played it at the Troubador.
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 Moss Icon. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every David Axelrod record on German import.
I heard that you have a white label of every seminal funk 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 an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Happenings record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monks,
Amon Düül II,
The Walker Brothers,
Traffic Nightmare,
Magma,
Drexciya,
Heaven 17,
Suicide,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Moody Blues,
Quantec,
Terror Squad Feat. Camron,
Sex Pistols,
The Leaves,
Echospace,
Mary Jane Girls,
Beasts of Bourbon,
the Germs,
Tubeway Army,
Gang Starr,
Pharoah Sanders,
The Modern Lovers,
Hot Snakes,
Robert Wyatt,
Be Bop Deluxe,
Warsaw,
Sarah Menescal,
10cc,
Pierre Henry,
Grauzone,
The Standells,
Gil Scott-Heron & Brian Jackson,
The Stooges,
Dead Boys,
The Count Five,
De La Soul & Jungle Brothers,
Nik Kershaw,
Gang of Four,
Pagans,
The Mighty Diamonds,
Wings,
Bush Tetras,
The Birthday Party,
Iggy Pop,
The Cramps,
Jeru the Damaja,
Con Funk Shun,
The Fuzztones,
Chrome,
Larry & the Blue Notes,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Sound Behaviour,
Soft Machine,
Boogie Down Productions,
Banda Bassotti,
Average White Band,
Kerrie Biddell,
Howard Jones,
Terrestrial Tones,
One Last Wish,
Shoche,
Black Flag,
The Flesh Eaters, The Flesh Eaters, The Flesh Eaters, The Flesh Eaters.
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.