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 Guinea and from Beijing.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Delhi and Lille.
I'm losing my edge to the art-school Manila 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the arpeggiator sounds with much patience.
I was there when David Bowie 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 Popol Vuh to the jazz 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 Radiohead. All the underground hits.
All Gil Scott Heron tracks. I heard you have a vinyl of every Cheater Slicks 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 '70s cut and another box set from the '90s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Hasil Adkins record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Little Man,
Idris Muhammad,
Kool G Rap & DJ Polo,
Judy Mowatt,
Cymande,
Negative Approach,
Larry & the Blue Notes,
Whodini,
Terrestrial Tones,
T.S.O.L.,
F. McDonald,
Bush Tetras,
The Standells,
DeepChord presents Echospace,
Sun Ra Arkestra,
Organ,
Shoche,
the Soft Cell,
Todd Terry,
Stiv Bators,
Gerry Rafferty,
Country Joe & The Fish,
JFA,
Alphaville,
Lizzy Mercier Descloux,
The Happenings,
Kas Product,
Deakin,
Bill Wells,
The Royal Family And The Poor,
Brothers Johnson,
Don Cherry,
Danielle Patucci,
Procol Harum,
Japan,
Motorama,
Theoretical Girls,
New Order,
Qualms,
Newcleus,
Crispy Ambulance,
The Modern Lovers,
Crooked Eye,
Susan Cadogan,
Robert Görl,
June of 44,
Mad Mike,
Groovy Waters,
Mr. Review,
Boz Scaggs,
8 Eyed Spy,
The Raincoats,
Eddi Front,
Bootsy's Rubber Band,
The Young Rascals,
Sound Behaviour,
The Fuzztones,
Alice Coltrane,
Ultimate Spinach,
Reagan Youth, Reagan Youth, Reagan Youth, Reagan Youth.
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.