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 Israel and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Bologna.
I'm losing my edge to the art-school Sao Paulo 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 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 James Chance & The Contortions to the punk 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 The Monochrome Set. All the underground hits.
All The Fire Engines tracks. I heard you have a vinyl of every Khruangbin 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 '70s cut and another box set from the '70s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a B.T. Express record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lalann,
Andrew Hill,
Buzzcocks,
Kauko Röyhkä ja Narttu,
Bill Wells,
Kurtis Blow,
The Modern Lovers,
Boogie Down Productions,
Richard Hell and the Voidoids,
Pantytec,
Silicon Teens,
Stiv Bators,
Symarip,
Lyres,
Moby Grape,
The Doors,
Hashim,
The Techniques,
Subhumans,
Alphaville,
Lee Hazlewood,
The Standells,
B.T. Express,
Gang Starr,
Ralphi Rosario,
Rakim,
Josef K,
Bobby Hutcherson,
Ituana,
The Fire Engines,
Ohio Players,
Smog,
Throbbing Gristle,
Pete Rock & C.L. Smooth,
Man Eating Sloth,
The Music Machine,
Yaz,
Blossom Toes,
The Alarm Clocks,
The Fugs,
The Leaves,
Surgeon,
Agitation Free,
Rotary Connection,
Lebanon Hanover,
Fat Boys,
Kool G Rap & DJ Polo,
Avey Tare,
Sound Behaviour,
Motorama,
Thee Headcoats,
Circle Jerks,
Visage,
Radiopuhelimet,
Susan Cadogan,
Piero Umiliani,
Iggy Pop,
Albert Ayler,
Groovy Waters,
Mars,
Davy DMX,
Gil Scott-Heron & Brian Jackson,
Peter & Gordon, Peter & Gordon, Peter & Gordon, Peter & Gordon.
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.