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 Guatemala and from Lagos.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Delhi and Salvador.
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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 Brothers Johnson to the funk kids.
I played it at the Crocodile.
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 Prince Buster. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every The Velvet Underground record on German import.
I heard that you have a white label of every seminal techno 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 harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Lonnie Liston Smith,
Amon Düül II,
Albert Ayler,
Swell Maps,
Gang Starr,
Maurizio,
Lou Reed & John Cale,
Joe Smooth,
Bauhaus,
Althea and Donna,
Camberwell Now,
Jerry Gold Smith,
Eurythmics,
Neil Young,
The Cosmic Jokers,
Jeff Mills,
The Mummies,
Tommy Roe,
Rosa Yemen,
Brass Construction,
Section 25,
Idris Muhammad,
Yusef Lateef,
the Soft Cell,
Pagans,
The Offenders,
Dennis Brown,
Eyeless In Gaza,
Skarface,
Yazoo,
Motorama,
Aaron Thompson,
Von Mondo,
Blancmange,
Prince Buster,
Kas Product,
Lalo Schifrin,
Liliput,
Sun Ra,
The Slackers,
Pharaoh Sanders and the Fire Engines,
Crash Course in Science,
Circle Jerks,
Neu!,
Rekid,
Gary Puckett & The Union Gap,
Echo & the Bunnymen,
Erykah Badu,
Rowland S Howard / Lydia Lunch,
June of 44,
Rod Modell,
Zero Boys,
Nico,
Jerry's Kids,
Boz Scaggs,
Sonny Sharrock,
Niagra,
Crime,
Bill Near,
The Sound,
Mantronix, Mantronix, Mantronix, Mantronix.
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.