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 Dominican Republic and from Jakarta.
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 Edmonton and Johannesburg.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Ohio Players to the grime kids.
I played it at the Hacienda.
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 Cecil Taylor. All the underground hits.
All Gichy Dan tracks. I heard you have a vinyl of every Parry Music record on German import.
I heard that you have a white label of every seminal crunk 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 theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faust,
Qualms,
Nils Olav,
The Gladiators,
Excepter,
Alton Ellis,
Delta 5,
Kool Moe Dee,
Sixth Finger,
Ohio Players,
Bronski Beat,
Glambeats Corp.,
Glenn Branca,
Absolute Body Control,
Bluetip,
The Men They Couldn't Hang,
Eric B and Rakim,
Eyeless In Gaza,
Shoche,
PIL,
Lou Reed & John Cale,
R.M.O.,
Neil Young & Crazy Horse,
Mr. Review,
Terror Squad Feat. Camron,
Kings Of Tomorrow,
Boz Scaggs,
Rotary Connection,
Fat Boys,
The Black Dice,
Ken Boothe,
Jandek,
The Doobie Brothers,
Icehouse,
Skaos,
Grauzone,
Scott Walker,
Quantec,
John Holt,
Johnny Osbourne,
Wolf Eyes,
Quando Quango,
The Chocolate Watch Band,
the Germs,
Spoonie Gee,
Sun City Girls,
Archie Shepp,
The Sisters of Mercy,
Swell Maps,
Japan,
Rod Modell,
Moby Grape,
Be Bop Deluxe,
Peter Gordon & Love of Life Orchestra,
Goldenarms,
The Beau Brummels,
Bush Tetras,
Todd Terry,
Barry Ungar,
Ronan,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
ABC, ABC, ABC, ABC.
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.