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 Angola and from Copenhagen.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1979.
I'm losing my edge.
To all the kids in Hong Kong and Winnipeg.
I'm losing my edge to the art-school Toronto 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 Amon Düül II to the grime kids.
I played it at the Troubador.
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 Marshall Jefferson. All the underground hits.
All Con Funk Shun tracks. I heard you have a vinyl of every The Seeds record on German import.
I heard that you have a white label of every seminal techno 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 synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Black Flag record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Smooth,
China Crisis,
Qualms,
The Dead C,
Bush Tetras,
Rosa Yemen,
Isaac Hayes,
Frankie Knuckles,
The Leaves,
Urselle,
Quantec,
Soul II Soul,
Pete Rock & C.L. Smooth,
Connie Case,
The Gladiators,
10cc,
Al Stewart,
Flash Fearless,
Sugar Minott,
cv313,
It's A Beautiful Day,
Idris Muhammad,
Beasts of Bourbon,
Bill Near,
Groovy Waters,
David Axelrod,
Pharoah Sanders,
Subhumans,
Minnie Riperton,
B.T. Express,
Yellowson,
Lou Reed & Metallica,
Albert Ayler,
Deadbeat,
the Soft Cell,
Marc Romboy vs. Booka Shade,
The Monks,
Ten City,
Morten Harket,
the Normal,
Terry Callier,
Barbara Tucker,
Tropical Tobacco,
Kings Of Tomorrow,
Sarah Menescal,
The Divine Comedy,
The Men They Couldn't Hang,
Graham Central Station,
Judy Mowatt,
Basic Channel,
E-Dancer,
The Index,
Blossom Toes,
Deepchord,
Trumans Water,
The Birthday Party,
The Electric Prunes,
The United States of America,
Howard Jones,
Rahsaan Roland Kirk,
Magma,
MDC,
Siglo XX, Siglo XX, Siglo XX, Siglo XX.
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.