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 El Salvador and from Woodstock.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Lyon and Lille.
I'm losing my edge to the art-school Lille 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 synthesizer 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 Das Ding to the rap kids.
I played it at the Troubador.
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 Lalo Schifrin. All the underground hits.
All Mandrill tracks. I heard you have a vinyl of every Fear 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 '90s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Flock of Seagulls,
The Durutti Column,
Bobbi Humphrey,
Rakim,
Mars,
Talk Talk,
Johnny Clarke,
The Black Dice,
Stockholm Monsters,
Rekid,
R.M.O.,
The Gladiators,
Theoretical Girls,
Henry Cow,
Lonnie Liston Smith,
Popol Vuh,
The Moody Blues,
Matthew Bourne,
KRS-One,
48th St. Collective,
Siouxsie and the Banshees,
Sonny Sharrock,
Con Funk Shun,
Harpers Bizarre,
Big Daddy Kane,
The Divine Comedy,
Quadrant,
The Alarm Clocks,
Youth Brigade,
Delon & Dalcan,
the Bar-Kays,
Albert Ayler,
Letta Mbulu,
Piero Umiliani,
Kenny Larkin,
Crime,
the Association,
Intrusion,
Angels of Light & Akron/Family,
Young Marble Giants,
B.T. Express,
Agitation Free,
Drexciya,
Dark Day,
Camron Feat. Jay Z And Juelz,
Minutemen,
Tomorrow,
John Cale,
Richard Hell and the Voidoids,
Gil Scott-Heron & Brian Jackson,
The Fortunes,
Radiopuhelimet,
The Martian,
Jacob Miller,
Yellowson,
The Grass Roots,
10cc,
Kerrie Biddell,
Lindisfarne,
Colin Newman,
Donald Byrd, Donald Byrd, Donald Byrd, Donald Byrd.
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.