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 Vietnam and from Lagos.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Accra and Calgary.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the harpsichord sounds with much patience.
I was there when Robert Palmer 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 Qualms to the dance 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 Nico. All the underground hits.
All Tommy Roe tracks. I heard you have a vinyl of every Pierre Henry 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 '80s cut and another box set from the '80s.
I hear you're buying a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Coltrane,
Tom Boy,
Todd Terry,
Moby Grape,
Lizzy Mercier Descloux,
The Gun Club,
Electric Prunes,
Andrew Hill,
Barrington Levy,
Ash Ra Tempel,
Oblivians,
Minor Threat,
Cymande,
Morten Harket,
Scientists,
The Neon Judgement,
Fugazi,
the Slits,
Monks,
Yusef Lateef,
Echospace,
Roxette,
Man Eating Sloth,
DNA,
Gil Scott Heron,
Andrew Ashong & Theo Parrish,
Aloha Tigers,
Skaos,
Bill Near,
The Associates,
Neu!,
Major Organ And The Adding Machine,
Dorothy Ashby,
Spandau Ballet,
Tommy Roe,
Camouflage,
Slick Rick,
Joyce Sims,
Massinfluence,
Lightning Bolt,
Hot Snakes,
Gang Gang Dance,
The Tremeloes,
R.M.O.,
Judy Mowatt,
Sound Behaviour,
Minutemen,
Cecil Taylor,
Mr. Review,
Cybotron,
the Association,
Dual Sessions,
The Monks,
X-101,
Metal Thangz,
kango's stein massive,
Nik Kershaw,
Dead Boys,
Yazoo,
MDC,
Pantytec,
Thinking Fellers Union Local 282, Thinking Fellers Union Local 282, Thinking Fellers Union Local 282, Thinking Fellers Union Local 282.
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.