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 Malaysia and from Beijing.
But I was there.
I was there in .
I was there at the first Suicide 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 1973.
I'm losing my edge.
To all the kids in Manchester and Bremen.
I'm losing my edge to the art-school Taipei 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 theremin 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 Althea and Donna to the techno kids.
I played it at the Astoria.
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 Kevin Saunderson. All the underground hits.
All Roger Hodgson tracks. I heard you have a vinyl of every Alison Limerick record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Black Dice record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Soft Cell,
Godley & Creme,
Soft Cell,
The Doobie Brothers,
Lebanon Hanover,
Chrome,
Laurel Aitken,
Whodini,
Boogie Down Productions,
The Victims,
The Gun Club,
Bang on a Can All-Stars,
Ultra Naté,
The Fuzztones,
The Dirtbombs,
Cecil Taylor,
The Remains,
KRS-One,
the Swans,
Sly & The Family Stone,
Fela Kuti,
The Peanut Butter Conspiracy,
Barry Ungar,
Make Up,
The Kinks,
David Axelrod,
Magazine,
The Pop Group,
Alice Coltrane,
Sun City Girls,
The Grass Roots,
CMW,
Stereo Dub,
New York Dolls,
Gil Scott-Heron and Jamie xx,
Manfred Mann's Earth Band,
The Gories,
Fluxion,
Crooked Eye,
Flash Fearless,
Scientists,
T.S.O.L.,
Lee Hazlewood,
Camberwell Now,
Soft Machine,
Shuggie Otis,
The Misunderstood,
Jeru the Damaja,
Moebius,
Barbara Tucker,
Bronski Beat,
Andrew Ashong & Theo Parrish,
Todd Rundgren,
Lizzy Mercier Descloux,
Henry Cow,
Louis and Bebe Barron,
The Men They Couldn't Hang,
Gregory Isaacs,
Massinfluence,
Lou Reed,
Kings Of Tomorrow,
Mark Hollis,
The Barracudas, The Barracudas, The Barracudas, The Barracudas.
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.