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 Botswana and from Hong Kong.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1963 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Milan.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the spring reverb sounds with much patience.
I was there when Lou Reed 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 punk 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 Sandy B. All the underground hits.
All Rotary Connection tracks. I heard you have a vinyl of every the Fania All-Stars 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 '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Chrome record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Motorama,
Bang On A Can,
Dennis Brown,
The Fire Engines,
Joe Smooth,
Grauzone,
Man Parrish,
Ken Boothe,
Roxy Music,
The Fugs,
Anthony Braxton,
CMW,
Dual Sessions,
Chrome,
Larry & the Blue Notes,
Moby Grape,
Visage,
Deutsch Amerikanische Freundschaft,
Thee Headcoats,
Absolute Body Control,
Slick Rick,
Oblivians,
Sam Rivers,
Country Joe & The Fish,
Nas,
Nirvana,
Crispy Ambulance,
X-102,
The Skatalites,
Audionom,
Pagans,
Severed Heads,
Deepchord,
Johnny Osbourne,
Toni Rubio,
Rites of Spring,
Derrick May,
Quadrant,
The Divine Comedy,
Organ,
Arab on Radar,
Brand Nubian,
Sly & The Family Stone,
Kool G Rap & DJ Polo,
Tom Boy,
John Holt,
Crooked Eye,
Aswad,
Groovy Waters,
Tim Buckley,
Rakim,
Aural Exciters,
Wighnomy Brothers & Robag Wruhme,
Angels of Light & Akron/Family,
Ronnie Foster,
Notorious BIG live in Amsterdam,
Man Eating Sloth,
Scion,
Blancmange,
Youth Brigade,
the Bar-Kays,
Panda Bear,
Pete Rock & C.L. Smooth,
The Residents, The Residents, The Residents, The Residents.
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.