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 Indonesia and from Portland.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Columbus.
I'm losing my edge to the art-school Lagos 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the harpsichord 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 Jeff Lynne to the disco 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 Fugs. All the underground hits.
All The Neon Judgement tracks. I heard you have a vinyl of every The American Breed 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 '80s cut and another box set from the '70s.
I hear you're buying a marimba 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 snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blossom Toes,
Derrick Morgan,
Deakin,
Magazine,
Matthew Halsall,
Gang Starr,
Saccharine Trust,
Scott Walker,
Index,
Richard Hell and the Voidoids,
Eric Copeland,
The Human League,
Deepchord,
Marine Girls,
Rapeman,
Be Bop Deluxe,
Whodini,
John Cale,
Ice-T,
Kas Product,
Ash Ra Tempel,
Circle Jerks,
Amon Düül II,
The Detroit Cobras,
Crime,
The Mojo Men,
Wasted Youth,
The Associates,
Justin Hinds & The Dominoes,
The Vogues,
The Electric Prunes,
Ornette Coleman,
The Saints,
Pere Ubu,
The Modern Lovers,
Metal Thangz,
Television,
The Trojans,
Roxy Music,
Cal Tjader,
48th St. Collective,
Motorama,
Roy Ayers Ubiquity,
Jeff Mills,
Oppenheimer Analysis,
Sonic Youth,
Pussy Galore,
Main Source,
Vladislav Delay,
Bootsy's Rubber Band,
Arab on Radar,
Alice Coltrane,
Zapp,
The Index,
Rakim,
Camberwell Now,
Parry Music,
Alison Limerick,
Anthony Braxton,
EPMD,
Accadde A,
Babytalk,
Traffic Nightmare,
Gabor Szabo, Gabor Szabo, Gabor Szabo, Gabor Szabo.
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.