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 Egypt and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1971.
I'm losing my edge.
To all the kids in Delhi and Shanghai.
I'm losing my edge to the art-school New York 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the chamberlin 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 Drexciya to the rock kids.
I played it at Trash.
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 Gap Band. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every Jeff Mills 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 '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Minutemen record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
In Retrospect,
Juan Atkins,
The Neon Judgement,
Yellowson,
Lou Reed & Metallica,
Gil Scott-Heron & Brian Jackson,
Rhythm & Sound,
Man Parrish,
Camouflage,
Minnie Riperton,
The Zeros,
Monolake,
Kool Moe Dee,
The West Coast Pop Art Experimental Band,
Mad Mike,
Max Romeo,
The Velvet Underground,
Rowland S Howard / Lydia Lunch,
Soulsonic Force,
Peter and Kerry,
Jeff Mills,
Lonnie Liston Smith,
Piero Umiliani,
Depeche Mode,
Eden Ahbez,
The Buckinghams,
B.T. Express,
Carl Craig,
The New Christs,
Donald Byrd,
Quadrant,
Jesper Dahlback,
AZ,
Quantec,
Ultramagnetic MC's,
Flamin' Groovies,
Ludus,
The Flesh Eaters,
Strawberry Alarm Clock,
Scratch Acid,
Pete Rock & C.L. Smooth,
Camron Feat. Memphis Bleek And Beenie Seigel,
Amon Düül II,
Sister Nancy,
Buzzcocks,
The Mighty Diamonds,
Fort Wilson Riot,
Traffic Nightmare,
Major Organ And The Adding Machine,
The Real Kids,
The American Breed,
Rhythim Is Rhythim,
Young Marble Giants,
Infiniti,
Lee Hazlewood,
L. Decosne,
The Birthday Party,
Joe Finger,
48th St. Collective,
Camberwell Now,
Harry Pussy, Harry Pussy, Harry Pussy, Harry Pussy.
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.