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 El Salvador and from Houston.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Seoul and Hong Kong.
I'm losing my edge to the art-school Copenhagen 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 808 sounds with much patience.
I was there when Tom Verlaine 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 Loose Ends to the jazz kids.
I played it at the Roxy.
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 World's Most. All the underground hits.
All DNA tracks. I heard you have a vinyl of every Royal Trux record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Quantec record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quadrant,
The Durutti Column,
Gabor Szabo,
Pharaoh Sanders and the Fire Engines,
Hashim,
Nico,
Blake Baxter,
Reuben Wilson,
Negative Approach,
Lonnie Liston Smith,
Andrew Hill,
Technova,
Wolf Eyes,
Marvin Gaye,
Ralphi Rosario,
X-101,
This Heat,
Amazonics,
Grey Daturas,
Mr. Review,
Toni Rubio,
The Shadows of Knight,
Buzzcocks,
Kerri Chandler,
Crash Course in Science,
Morten Harket,
Echo & the Bunnymen,
Kevin Saunderson,
F. McDonald,
Jeru the Damaja,
Parry Music,
David Bowie,
Lou Reed & John Cale,
Rapeman,
Mars,
Soul II Soul,
The Offenders,
Sonny Sharrock,
Schoolly D,
Cameo,
Bang On A Can,
Eden Ahbez,
Dawn Penn,
Arab on Radar,
Boogie Down Productions,
Little Man,
Peter and Kerry,
Sugar Minott,
The Victims,
Crispian St. Peters,
Glambeats Corp.,
The Pretty Things,
Susan Cadogan,
Scott Walker,
Bizarre Inc.,
Guru Guru,
Jandek,
The Neon Judgement,
Japan,
Minor Threat,
Piero Umiliani,
John Holt,
Ultra Naté,
Kas Product, Kas Product, Kas Product, Kas Product.
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.