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 Uruguay and from Winnipeg.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Lille.
I'm losing my edge to the art-school Toronto 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the linndrum 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 Bad Manners to the funk kids.
I played it at Trash.
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 Zero Boys. All the underground hits.
All Captain Beefheart & His Magic Band tracks. I heard you have a vinyl of every Maurizio 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 '50s cut and another box set from the '70s.
I hear you're buying a rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Ronnie Foster record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
Derrick Morgan,
Pantytec,
Heaven 17,
Oppenheimer Analysis,
kango's stein massive,
Henry Cow,
The Martian,
Warsaw,
MDC,
Archie Shepp,
X-102,
Funky Four + One,
Eli Mardock,
Alton Ellis,
Gil Scott-Heron & Brian Jackson,
Audionom,
David Bowie,
Albert Ayler,
Yazoo,
Agitation Free,
Ultravox,
James White and The Blacks,
Stiv Bators,
Q65,
Dorothy Ashby,
Average White Band,
Roxy Music,
Angry Samoans,
Pete Rock & C.L. Smooth,
Wasted Youth,
The Gap Band,
Das Ding,
The Vogues,
The Fugs,
Major Organ And The Adding Machine,
The Associates,
The Offenders,
8 Eyed Spy,
Angels of Light & Akron/Family,
The Detroit Cobras,
Joy Division,
Hoover,
The Human League,
Skaos,
Radio Birdman,
Glambeats Corp.,
Gang of Four,
This Heat,
Absolute Body Control,
Monolake,
Marine Girls,
John Lydon,
Marmalade,
Fear,
Moebius,
The Moleskins,
The Angels of Light,
Tropical Tobacco,
Robert Hood,
Scratch Acid,
Piero Umiliani,
Crash Course in Science, Crash Course in Science, Crash Course in Science, Crash Course in Science.
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.