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 Gambia and from Lagos.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1978.
I'm losing my edge.
To all the kids in Lagos and Beijing.
I'm losing my edge to the art-school Houston 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 1976 at the first Chic practice in a loft in New York.
I was working on the clarinet 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 Ornette Coleman to the electroclash 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 K-Klass. All the underground hits.
All Todd Terry tracks. I heard you have a vinyl of every Liliput 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 '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Deepchord record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moby Grape,
Brothers Johnson,
Brick,
Jeru the Damaja,
Juan Atkins,
Half Japanese,
Chris & Cosey,
Todd Terry,
Maleditus Sound,
Radiopuhelimet,
Bobby Sherman,
New York Dolls,
Fat Boys,
Scion,
Minny Pops,
Lou Reed & Metallica,
Gary Puckett & The Union Gap,
Prince Buster,
Sound Behaviour,
Supertramp,
Amon Düül,
Hasil Adkins,
The Red Krayola,
Saccharine Trust,
Scientists,
Oneida,
Kas Product,
Neu!,
Throbbing Gristle,
Hoover,
Matthew Bourne,
Albert Ayler,
The Moody Blues,
Deutsch Amerikanische Freundschaft,
Aaron Thompson,
Camouflage,
Scratch Acid,
The Monks,
Sad Lovers and Giants,
John Coltrane,
Ajijia Myrayebe,
Thee Headcoats,
Lightning Bolt,
Maurizio,
ABC,
Sun Ra,
Kings Of Tomorrow,
Flamin' Groovies,
The Evens,
The Sisters of Mercy,
U.S. Maple,
Procol Harum,
The Flesh Eaters,
The Invisible,
kango's stein massive,
K-Klass,
Hot Snakes,
Kenny Larkin,
Kool Moe Dee,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.