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 Eritrea and from New York.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Tokyo and Manchester.
I'm losing my edge to the art-school Seoul 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the synthesizer sounds with much patience.
I was there when David Bowie 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 Ornette Coleman to the disco kids.
I played it at the 40 Watt.
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 Motions. All the underground hits.
All Lyres tracks. I heard you have a vinyl of every Big Daddy Kane 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 '70s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your güiro and bought a sitar.
I hear that you and your band have sold your sitar and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric B and Rakim,
PIL,
Essential Logic,
Rhythim Is Rhythim,
Aaron Thompson,
Davy DMX,
Symarip,
Louis and Bebe Barron,
8 Eyed Spy,
Roger Hodgson,
Alison Limerick,
Rosa Yemen,
Khruangbin,
X-Ray Spex,
Althea and Donna,
The Index,
Nas,
The Knickerbockers,
Peter & Gordon,
Con Funk Shun,
Thinking Fellers Union Local 282,
Flipper,
Buzzcocks,
The Peanut Butter Conspiracy,
Sound Behaviour,
Anakelly,
Danielle Patucci,
Minnie Riperton,
Johnny Clarke,
Jeru the Damaja,
Rites of Spring,
Beasts of Bourbon,
Peter and Kerry,
Kerrie Biddell,
cv313,
The Birthday Party,
Rotary Connection,
Darondo,
Bang on a Can All-Stars,
Wally Richardson,
Yazoo,
The Victims,
Moebius,
Charles Mingus,
Arcadia,
Black Moon,
Sällskapet,
Theoretical Girls,
Trumans Water,
OOIOO,
The Blackbyrds,
The Searchers,
Don Cherry,
Harpers Bizarre,
Chris Corsano,
Make Up,
The Cowsills,
Josef K,
Ultravox,
Skriet,
Connie Case,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.