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 Canada and from Columbus.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Tokyo and Stockholm.
I'm losing my edge to the art-school Glasgow 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 arpeggiator 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 The Monks to the techno kids.
I played it at the Roxy.
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 Dark Day. All the underground hits.
All Ten City tracks. I heard you have a vinyl of every Brothers Johnson 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 sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a DNA record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lonnie Liston Smith,
Zero Boys,
The Residents,
Tomorrow,
Kool G Rap & DJ Polo,
Jeff Mills,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Faust,
Dead Boys,
Traffic Nightmare,
The Slackers,
Flamin' Groovies,
Pantytec,
Ultimate Spinach,
DeepChord presents Echospace,
Wasted Youth,
Suicide,
Fatback Band,
Rod Modell,
A Flock of Seagulls,
The Busters,
Motorama,
Chris & Cosey,
Yellowson,
the Bar-Kays,
The Wake,
Curtis Mayfield,
Gastr Del Sol,
Scion,
Joe Smooth,
Kurtis Blow,
Suburban Knight,
June Days,
Von Mondo,
Nation of Ulysses,
The Blackbyrds,
Red Lorry Yellow Lorry,
Jerry Gold Smith,
John Lydon,
The Moleskins,
Agitation Free,
Stockholm Monsters,
Tears for Fears,
The Cure,
Angry Samoans,
The Red Krayola,
Sun Ra,
The Cosmic Jokers,
Shoche,
The Birthday Party,
Terry Callier,
Alison Limerick,
Los Fastidios,
Cameo,
Deakin,
Arcadia,
Eyeless In Gaza,
The Peanut Butter Conspiracy,
Ponytail,
Echospace,
Patti Smith,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.