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 Montenegro and from Delhi.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Beijing and Bologna.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the 808 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 Japan to the punk 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 One Last Wish. All the underground hits.
All Andrew Ashong & Theo Parrish tracks. I heard you have a vinyl of every Vaughan Mason & Crew 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 '70s cut and another box set from the '80s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Fugs record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter Gordon & Love of Life Orchestra,
Jimmy McGriff,
The J.B.'s,
DJ Style,
The Fire Engines,
The Detroit Cobras,
Notorious BIG live in Amsterdam,
LL Cool J,
It's A Beautiful Day,
The West Coast Pop Art Experimental Band,
The Last Poets,
Animal Collective,
F. McDonald,
Neil Young & Crazy Horse,
Public Image Ltd.,
Terrestrial Tones,
The Real Kids,
FM Einheit,
The Buckinghams,
Wire,
Lower 48,
John Foxx,
Quadrant,
The Walker Brothers,
Slave,
Bob Dylan,
Cabaret Voltaire,
The Skatalites,
Mr. Review,
The Seeds,
Simply Red,
Sexual Harrassment,
The Young Rascals,
The Monochrome Set,
The Grass Roots,
Scratch Acid,
Bootsy's Rubber Band,
Massinfluence,
The Offenders,
Wally Richardson,
Roxette,
Rakim,
Goldenarms,
Amon Düül II,
Smog,
The United States of America,
Stockholm Monsters,
Mantronix,
The Five Americans,
Tommy Roe,
Albert Ayler,
Girls At Our Best!,
the Germs,
The Remains,
Sly & The Family Stone,
Surgeon,
Los Fastidios,
Clear Light,
Roxy Music,
Liliput,
Absolute Body Control,
New York Dolls,
Sun Ra Arkestra,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.