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 Afghanistan and from Beijing.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1979.
I'm losing my edge.
To all the kids in Johannesburg and Cairo.
I'm losing my edge to the art-school Johannesburg 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the marimba sounds with much patience.
I was there when Holger Czukay 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 Spandau Ballet to the punk 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 Ultra Naté. All the underground hits.
All Sparks tracks. I heard you have a vinyl of every Lightning Bolt record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Throbbing Gristle record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Excepter,
T.S.O.L.,
the Fania All-Stars,
The Electric Prunes,
Altered Images,
Derrick Morgan,
The United States of America,
Iggy Pop,
Animal Collective,
Letta Mbulu,
Faust,
Teenage Jesus and the Jerks,
Bauhaus,
Sly & The Family Stone,
Fluxion,
Skriet,
Michelle Simonal,
Kauko Röyhkä ja Narttu,
The Raincoats,
Freddie Wadling,
The West Coast Pop Art Experimental Band,
Avey Tare,
Das Ding,
Tres Demented,
Scrapy,
Pussy Galore,
Vaughan Mason & Crew,
X-102,
Sister Nancy,
Quadrant,
Wire,
Brothers Johnson,
Max Romeo,
Gian Franco Pienzio,
Camouflage,
DNA,
The Gladiators,
Slick Rick,
Traffic Nightmare,
Lafayette Afro Rock Band,
Icehouse,
Jeff Lynne,
Donny Hathaway,
Lindisfarne,
Echospace,
Procol Harum,
Maurizio,
Little Man,
Bobby Byrd,
Essential Logic,
Hot Snakes,
Nation of Ulysses,
Khruangbin,
F. McDonald,
Royal Trux,
Black Flag,
Terrestrial Tones,
The Saints,
Sparks,
The Detroit Cobras,
Drive Like Jehu, Drive Like Jehu, Drive Like Jehu, Drive Like Jehu.
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.