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 Guinea and from Paris.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Stockholm and Delhi.
I'm losing my edge to the art-school Bologna 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the synthesizer 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 Chris & Cosey to the techno kids.
I played it at the Astoria.
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 Amon Düül. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every Rhythim Is Rhythim 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 '70s cut and another box set from the '70s.
I hear you're buying a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
KRS-One,
Thee Headcoats,
Can,
The Birthday Party,
The Fire Engines,
the Normal,
The Index,
The Electric Prunes,
Eddi Front,
Avey Tare's Slasher Flicks,
Connie Case,
Rakim,
Nirvana,
48th St. Collective,
Massinfluence,
Harry Pussy,
Trumans Water,
Agent Orange,
Junior Murvin,
Pharoah Sanders,
Minutemen,
The Monks,
The Black Dice,
The Angels of Light,
Gong,
Avey Tare & Kría Brekkan,
The Blues Magoos,
Vaughan Mason & Crew,
Don Cherry,
DNA,
Gil Scott-Heron & Brian Jackson,
Warren Ellis,
Tomorrow,
Easy Going,
The Divine Comedy,
Thinking Fellers Union Local 282,
Wighnomy Brothers & Robag Wruhme,
Sad Lovers and Giants,
The Mojo Men,
Fela Kuti,
John Lydon,
Marcia Griffiths,
Rhythm & Sound,
Selector Dub Narcotic,
Spandau Ballet,
The Count Five,
Blancmange,
Johnny Osbourne,
Drive Like Jehu,
Kerri Chandler,
Adolescents,
Scott Walker + Sunn O))),
Super Lover Cee & Casanova Rud,
Deadbeat,
Minor Threat,
Grandmaster Flash,
Bobby Sherman,
Chris Corsano,
Shuggie Otis,
Gil Scott Heron,
The Mummies,
Peter & Gordon,
The Alarm Clocks,
Japan,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.