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 Laos and from Johannesburg.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1976.
I'm losing my edge.
To all the kids in Manila and Glasgow.
I'm losing my edge to the art-school Bremen 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the arpeggiator 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 Ohio Players to the funk 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 The Doors. All the underground hits.
All Rufus Thomas tracks. I heard you have a vinyl of every Henry Cow record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Absolute Body Control record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Ultramagnetic MC's,
Eric Copeland,
The Invisible,
Piero Umiliani,
John Cale,
Scott Walker,
Marshall Jefferson,
Masters at Work,
Zero Boys,
Smog,
Sun Ra Arkestra,
the Bar-Kays,
Pharoah Sanders,
Lou Reed,
Bluetip,
Easy Going,
Eyeless In Gaza,
DNA,
Henry Cow,
the Soft Cell,
Mark Hollis,
Joyce Sims,
Sun City Girls,
A Flock of Seagulls,
Rosa Yemen,
10cc,
Arab on Radar,
Underground Resistance,
Darondo,
Sugar Minott,
Godley & Creme,
Bush Tetras,
Robert Görl,
Gian Franco Pienzio,
Tears for Fears,
Schoolly D,
Glenn Branca,
Popol Vuh,
Fifty Foot Hose,
Livin' Joy,
Strawberry Alarm Clock,
Maleditus Sound,
The Slackers,
The Music Machine,
Mantronix,
Toni Rubio,
B.T. Express,
The Mummies,
Pere Ubu,
Motorama,
Stereo Dub,
Bang On A Can,
Rotary Connection,
Yusef Lateef,
World's Most,
Nas,
Heaven 17,
The Toasters,
Panda Bear,
Ten City,
The Dirtbombs,
The Last Poets, The Last Poets, The Last Poets, The Last Poets.
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.