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 Sudan and from Shanghai.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Manila and Lille.
I'm losing my edge to the art-school Glasgow 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the marimba 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 KRS-One to the funk kids.
I played it at CBGB's.
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 Monolake. All the underground hits.
All Flipper tracks. I heard you have a vinyl of every Lafayette Afro Rock Band 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 rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
Siouxsie and the Banshees,
Bob Dylan,
Joyce Sims,
Urselle,
Smog,
DJ Style,
The Victims,
Babytalk,
The United States of America,
Nation of Ulysses,
Swell Maps,
The Real Kids,
Joey Negro,
The Beau Brummels,
Glenn Branca,
Dark Day,
Harpers Bizarre,
Pere Ubu,
Youth Brigade,
Black Bananas,
John Lydon,
Mark Hollis,
Cal Tjader,
Nirvana,
Tubeway Army,
Brass Construction,
a-ha,
Nils Olav,
Royal Trux,
Marshall Jefferson,
Amon Düül,
Wolf Eyes,
Q and Not U,
Rakim,
The Blues Magoos,
Malaria!,
The Moody Blues,
The Red Krayola,
Todd Terry,
the Soft Cell,
Letta Mbulu,
Ituana,
Stiv Bators,
EPMD,
Magazine,
Colin Newman,
Oblivians,
Bill Near,
Crooked Eye,
The Five Americans,
Cabaret Voltaire,
Lonnie Liston Smith,
Moebius,
Audionom,
Depeche Mode,
Gastr Del Sol,
E-Dancer,
Yusef Lateef,
Marvin Gaye,
The Names,
PIL, PIL, PIL, PIL.
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.