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 Angola and from Tehran.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Madrid and Johannesburg.
I'm losing my edge to the art-school Johannesburg 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 1984 at the first Arcadia practice in a loft in London.
I was working on the sitar 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 The Moleskins to the rap 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 Eden Ahbez. All the underground hits.
All Underground Resistance tracks. I heard you have a vinyl of every Ultra Naté record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Godley & Creme record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
Guru Guru,
Monks,
Von Mondo,
Kool G Rap & DJ Polo,
The Toasters,
The Invisible,
Crooked Eye,
Rowland S Howard / Lydia Lunch,
Pole,
Masters at Work,
Dead Boys,
Avey Tare's Slasher Flicks,
Loose Ends,
Arthur Verocai,
The Victims,
Gabor Szabo,
UT,
Bill Near,
Anthony Braxton,
John Cale,
The Monks,
The Wake,
Unrelated Segments,
Scratch Acid,
La Düsseldorf,
Qualms,
Japan,
Boogie Down Productions,
the Human League,
Pharoah Sanders,
The Zeros,
Echospace,
Red Lorry Yellow Lorry,
Scott Walker,
Angry Samoans,
Average White Band,
Frankie Knuckles,
Spoonie Gee,
Johnny Osbourne,
Amazonics,
The Sonics,
Liliput,
Cluster,
Faust,
the Swans,
Derrick May,
Infiniti,
The Fugs,
Blake Baxter,
Rahsaan Roland Kirk,
Barry Ungar,
Kango’s Stein Massive,
Louis and Bebe Barron,
Junior Murvin,
The Durutti Column,
Interpol,
Camouflage,
The Flesh Eaters,
Art Ensemble Of Chicago,
Liaisons Dangereuses,
Black Moon,
Joy Division,
Black Bananas,
The United States of America, The United States of America, The United States of America, The United States of America.
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.