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 Gabon and from Taipei.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Beijing and Portland.
I'm losing my edge to the art-school Copenhagen 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 Buzzcocks practice in a loft in Bolton.
I was working on the güiro sounds with much patience.
I was there when Nile Rodgers 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 KRS-One to the dance kids.
I played it at the Spitz.
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 Deutsch Amerikanische Freundschaft. All the underground hits.
All Public Image Ltd. tracks. I heard you have a vinyl of every The Jesus and Mary Chain 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 '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Ken Boothe record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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?
Carl Craig,
Shoche,
James White and The Blacks,
Robert Görl,
Ponytail,
Pharoah Sanders,
The Busters,
Drive Like Jehu,
Funkadelic,
David Axelrod,
Chrome,
Terrestrial Tones,
James Chance & The Contortions,
Flipper,
Mo-Dettes,
Trumans Water,
Severed Heads,
The Moody Blues,
Gastr Del Sol,
the Soft Cell,
Smog,
The Jesus and Mary Chain,
Lee Hazlewood,
Amon Düül II,
Bang On A Can,
The Remains,
Kas Product,
World's Most,
The Blackbyrds,
The Invisible,
Gong,
Liliput,
Darondo,
Clear Light,
Howard Jones,
Kings Of Tomorrow,
U.S. Maple,
The Count Five,
Duran Duran,
Chris & Cosey,
Eden Ahbez,
MC5,
The Gladiators,
Crispian St. Peters,
Maleditus Sound,
Cymande,
Todd Rundgren,
Sixth Finger,
Ken Boothe,
Stiv Bators,
Royal Trux,
Gang Green,
Marcia Griffiths,
Ultra Naté,
Reuben Wilson,
The Doors,
Michelle Simonal,
The United States of America,
Warsaw,
Ten City,
Charles Mingus,
The Techniques,
Yellowson, Yellowson, Yellowson, Yellowson.
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.