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 Indonesia and from Taipei.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Mumbai and Columbus.
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 arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Dark Day to the punk kids.
I played it at Cafe Wha.
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 Lou Christie. All the underground hits.
All Sly & The Family Stone tracks. I heard you have a vinyl of every Dual Sessions 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 '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Monks record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Henry Cow,
Fort Wilson Riot,
The Birthday Party,
Agitation Free,
the Germs,
Kas Product,
Parry Music,
The Detroit Cobras,
The J.B.'s,
Moebius,
Accadde A,
Red Lorry Yellow Lorry,
Kauko Röyhkä ja Narttu,
Colin Newman,
Interpol,
Eric B and Rakim,
Slave,
Cal Tjader,
T.S.O.L.,
Jesper Dahlbäck,
Todd Terry,
Bobby Hutcherson,
Moss Icon,
The Cramps,
Steve Hackett,
Neu!,
Yazoo,
Chrome,
Niagra,
Zapp,
The Fire Engines,
Sonic Youth,
Second Layer,
John Holt,
Lalo Schifrin,
Andrew Ashong & Theo Parrish,
Oppenheimer Analysis,
The Vogues,
Alton Ellis,
Roy Ayers,
cv313,
Boredoms,
Bobby Byrd,
Groovy Waters,
Supertramp,
Bush Tetras,
The Gories,
Ronan,
Strawberry Alarm Clock,
Judy Mowatt,
Au Pairs,
Rosa Yemen,
Derrick May,
Easy Going,
Gil Scott Heron,
Connie Case,
8 Eyed Spy,
Bang On A Can,
Kevin Saunderson,
Q and Not U,
Eric Copeland, Eric Copeland, Eric Copeland, Eric Copeland.
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.