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 Cape Verde and from Portland.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1978.
I'm losing my edge.
To all the kids in Accra and New York.
I'm losing my edge to the art-school Mexico City 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the spring reverb 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 Easy Going to the crunk kids.
I played it at Cafe Wha.
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 Black Dice. All the underground hits.
All Anthony Braxton tracks. I heard you have a vinyl of every Junior Murvin 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 '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fuzztones,
Black Sheep,
Wings,
Rotary Connection,
Ken Boothe,
Fatback Band,
Pantaleimon,
The Grass Roots,
The Modern Lovers,
Michelle Simonal,
Rapeman,
Camouflage,
Aural Exciters,
Marcia Griffiths,
Lower 48,
Rekid,
Rufus Thomas,
The Selecter,
Piero Umiliani,
Television Personalities,
Kaleidoscope,
Can,
The Buckinghams,
Morten Harket,
Gerry Rafferty,
T.S.O.L.,
The Knickerbockers,
Q and Not U,
The Toasters,
Lou Reed & Metallica,
Arab on Radar,
June Days,
Boogie Down Productions,
Soulsonic Force,
Deepchord,
Flamin' Groovies,
Oneida,
The Cramps,
Notorious BIG live in Amsterdam,
Kerrie Biddell,
Roxette,
World's Most,
The Fugs,
Lyres,
The Dead C,
The Smiths,
Stetsasonic,
Audionom,
Archie Shepp,
10cc,
The Cure,
Sarah Menescal,
Don Cherry,
Eric Copeland,
Schoolly D,
Half Japanese,
In Retrospect,
Vainqueur,
Ronan,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.