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 Antigua and from Lagos.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in 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 1971.
I'm losing my edge.
To all the kids in Philadelphia and Houston.
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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the organ 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 Bootsy Collins to the electroclash 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 Delon & Dalcan. All the underground hits.
All Joe Finger tracks. I heard you have a vinyl of every The Fuzztones record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arab on Radar,
Bluetip,
Pole,
David Bowie,
Malaria!,
The Fire Engines,
Roy Ayers Ubiquity,
James Chance & The Contortions,
Ossler,
Altered Images,
The Moleskins,
The Cramps,
Yusef Lateef,
John Coltrane,
the Normal,
Main Source,
Lou Reed & John Cale,
Art Ensemble Of Chicago,
Sister Nancy,
Ken Boothe,
The Techniques,
Nico,
The Zeros,
Nik Kershaw,
Fort Wilson Riot,
Reagan Youth,
Gichy Dan,
Byron Stingily,
Bad Manners,
The Stooges,
Darondo,
Spandau Ballet,
Dorothy Ashby,
June of 44,
Tommy Roe,
Brick,
Andrew Ashong & Theo Parrish,
Faust,
Maleditus Sound,
Johnny Osbourne,
Matthew Bourne,
Adolescents,
Oneida,
Supertramp,
Rufus Thomas,
Wasted Youth,
Kool Moe Dee,
Khruangbin,
David Axelrod,
Warsaw,
The Count Five,
Ice-T,
Kool G Rap & DJ Polo,
Rotary Connection,
Subhumans,
Angels of Light & Akron/Family,
Juan Atkins,
Gang Green,
Robert Hood,
Soft Cell,
Mars,
Robert Wyatt,
Panda Bear,
Silicon Teens, Silicon Teens, Silicon Teens, Silicon Teens.
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.