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 Burundi and from New York.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Salvador.
I'm losing my edge to the art-school Salvador 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 Michael McDonald 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 Dave Clark Five to the rock 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 Parry Music. All the underground hits.
All Archie Shepp tracks. I heard you have a vinyl of every Swell Maps record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Ten City,
The Fugs,
Jesper Dahlback,
Judy Mowatt,
Kool Moe Dee,
Terrestrial Tones,
Ludus,
The Index,
Fear,
Joyce Sims,
Beasts of Bourbon,
Scratch Acid,
The Grass Roots,
Audionom,
Kurtis Blow,
DJ Style,
Banda Bassotti,
Gil Scott-Heron & Brian Jackson,
The Fire Engines,
The Raincoats,
Bizarre Inc.,
Intrusion,
The Electric Prunes,
The Searchers,
Agitation Free,
Parry Music,
Inner City,
Sexual Harrassment,
Tom Boy,
Monolake,
Hasil Adkins,
Sam Rivers,
Anthony Braxton,
DJ Sneak,
The Modern Lovers,
Rotary Connection,
Sparks,
Joe Finger,
Curtis Mayfield,
EPMD,
Rites of Spring,
Scion,
The Birthday Party,
The Gories,
Tim Buckley,
The Martian,
Marmalade,
Whodini,
Be Bop Deluxe,
Cabaret Voltaire,
Arab on Radar,
Kas Product,
Black Pus,
The Detroit Cobras,
The Red Krayola,
Index,
Johnny Osbourne,
Sun City Girls,
The Doors,
AZ,
Nik Kershaw,
Alton Ellis, Alton Ellis, Alton Ellis, Alton Ellis.
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.