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 Nauru and from Beijing.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1978.
I'm losing my edge.
To all the kids in Jakarta and Calgary.
I'm losing my edge to the art-school Philadelphia 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the chamberlin 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 the Bar-Kays to the rap 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 Prince Buster. All the underground hits.
All The Birthday Party tracks. I heard you have a vinyl of every Orchestral Manoeuvres in the Dark record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Martian record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Electric Prunes,
AZ,
Smog,
Soft Machine,
Oppenheimer Analysis,
Massinfluence,
Hardrive,
Sonic Youth,
Eyeless In Gaza,
Scott Walker + Sunn O))),
Jeru the Damaja,
The Wake,
B.T. Express,
Thompson Twins,
Lizzy Mercier Descloux,
Lakeside,
Susan Cadogan,
Bootsy's Rubber Band,
T.S.O.L.,
Big Daddy Kane,
the Association,
Electric Prunes,
Carl Craig,
the Normal,
Neu!,
Gil Scott-Heron & Brian Jackson,
Mark Hollis,
Gang of Four,
Babytalk,
Basic Channel,
A Flock of Seagulls,
Traffic Nightmare,
Ornette Coleman,
Isaac Hayes,
Deutsch Amerikanische Freundschaft,
Kool Moe Dee,
Graham Central Station,
Average White Band,
FM Einheit,
Freddie Wadling,
John Coltrane,
Amazonics,
Wasted Youth,
Avey Tare & Kría Brekkan,
Subhumans,
Kas Product,
Surgeon,
Nation of Ulysses,
David Bowie,
Bob Dylan,
Delon & Dalcan,
Cluster,
Jandek,
The Birthday Party,
The Move,
Roy Ayers,
Zero Boys,
Y Pants,
The Beau Brummels,
The Pretty Things,
Major Organ And The Adding Machine,
Monks, Monks, Monks, Monks.
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.