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 Senegal 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 1960 to 1979.
I'm losing my edge.
To all the kids in Edmonton and Hong Kong.
I'm losing my edge to the art-school Manila 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 1976 at the first Chic practice in a loft in New York.
I was working on the arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Brand Nubian to the jazz kids.
I played it at CBGB's.
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 Danielle Patucci. All the underground hits.
All Ken Boothe tracks. I heard you have a vinyl of every D'Angelo record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a the Slits record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camberwell Now,
Jandek,
Sex Pistols,
Unrelated Segments,
ABC,
Matthew Bourne,
Ossler,
Man Eating Sloth,
Shuggie Otis,
The Associates,
Bauhaus,
Public Enemy,
Danielle Patucci,
Eric Copeland,
Pylon,
Rufus Thomas,
This Heat,
Marshall Jefferson,
The Cramps,
Charles Mingus,
The Last Poets,
Deutsch Amerikanische Freundschaft,
Theoretical Girls,
Joyce Sims,
The Black Dice,
Tubeway Army,
The Busters,
Sugar Minott,
Index,
The Evens,
Young Marble Giants,
Buzzcocks,
Sun City Girls,
Super Lover Cee & Casanova Rud,
Visage,
Livin' Joy,
Andrew Hill,
Nirvana,
The Beau Brummels,
Boredoms,
Justin Hinds & The Dominoes,
Davy DMX,
The Pretty Things,
Althea and Donna,
The Divine Comedy,
Nas,
Bootsy's Rubber Band,
Marmalade,
8 Eyed Spy,
Ralphi Rosario,
Harpers Bizarre,
Das Ding,
It's A Beautiful Day,
Maurizio,
Suicide,
Lalo Schifrin,
Albert Ayler,
X-102,
Pete Rock & C.L. Smooth,
Joensuu 1685,
Terry Callier,
Quadrant,
Mandrill, Mandrill, Mandrill, Mandrill.
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.