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 Nigeria and from Spokane.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Tokyo and Manchester.
I'm losing my edge to the art-school Hong Kong 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the rhodes sounds with much patience.
I was there when Lou Reed 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 Major Organ And The Adding Machine to the funk kids.
I played it at Trash.
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 Busters. All the underground hits.
All Gang of Four tracks. I heard you have a vinyl of every The Barracudas 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 '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a ABBA record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liliput,
James Chance & The Contortions,
Kool G Rap & DJ Polo,
Black Bananas,
Gerry Rafferty,
Boogie Down Productions,
Desert Stars,
Faust,
Wire,
Michelle Simonal,
Fatback Band,
Zapp,
Nation of Ulysses,
The Names,
Scott Walker,
Althea and Donna,
Aloha Tigers,
Main Source,
Louis and Bebe Barron,
Echospace,
Cabaret Voltaire,
Television Personalities,
Roxette,
Harmonia,
Rosa Yemen,
The Blues Magoos,
The Searchers,
Drive Like Jehu,
Flipper,
Mr. Review,
Eli Mardock,
Jacques Brel,
The Men They Couldn't Hang,
Lungfish,
Maurizio,
Radiopuhelimet,
Minor Threat,
Quantec,
Easy Going,
Sun Ra,
R.M.O.,
Deepchord,
D'Angelo,
CMW,
Mad Mike,
K-Klass,
De La Soul & Jungle Brothers,
Scan 7,
Brothers Johnson,
Minnie Riperton,
Altered Images,
The Doors,
Sad Lovers and Giants,
Susan Cadogan,
Visage,
Ultramagnetic MC's,
New Order,
Yazoo,
Scott Walker + Sunn O))),
Ludus, Ludus, Ludus, Ludus.
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.