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 Portland.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Jakarta and Accra.
I'm losing my edge to the art-school Philadelphia 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 Zapp practice in a loft in Hamilton.
I was working on the arpeggiator sounds with much patience.
I was there when Lou Reed 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 Gil Scott Heron to the punk kids.
I played it at the 40 Watt.
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 the Human League. All the underground hits.
All Underground Resistance tracks. I heard you have a vinyl of every The Martian record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Byrd record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & John Cale,
Anakelly,
Masters at Work,
Delta 5,
Cal Tjader,
The Royal Family And The Poor,
A Flock of Seagulls,
Hashim,
Crispian St. Peters,
Faust,
The Fall,
Lou Christie,
Radiopuhelimet,
Dark Day,
Andrew Ashong & Theo Parrish,
The Gap Band,
The Chocolate Watch Band,
Toni Rubio,
D'Angelo,
The Happenings,
T. Rex,
the Sonics,
Manfred Mann's Earth Band,
Jerry's Kids,
Juan Atkins,
Sun City Girls,
Wings,
Crime,
Electric Light Orchestra,
The Gladiators,
The Martian,
Glambeats Corp.,
Blake Baxter,
Derrick May,
Pete Rock & C.L. Smooth,
Kevin Saunderson,
PIL,
Bobby Byrd,
Boogie Down Productions,
Gil Scott-Heron and Jamie xx,
Delon & Dalcan,
Q and Not U,
The Electric Prunes,
Black Pus,
Matthew Bourne,
Brand Nubian,
Kings Of Tomorrow,
The Angels of Light,
Black Moon,
Japan,
Pussy Galore,
Blossom Toes,
The Gories,
Minutemen,
Eric B and Rakim,
Quando Quango,
Echospace,
Harpers Bizarre,
The American Breed,
Bluetip,
Scan 7, Scan 7, Scan 7, Scan 7.
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.