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 Nauru and from Lille.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1970.
I'm losing my edge.
To all the kids in Mumbai and Woodstock.
I'm losing my edge to the art-school London 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Moby Grape to the disco 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 Cybotron. All the underground hits.
All Justin Hinds & The Dominoes tracks. I heard you have a vinyl of every Kings Of Tomorrow 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 '80s cut and another box set from the '90s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boogie Down Productions,
Royal Trux,
Little Man,
Black Sheep,
Niagra,
Byron Stingily,
Matthew Halsall,
K-Klass,
Man Eating Sloth,
Country Teasers,
Rekid,
Slick Rick,
These Immortal Souls,
H. Thieme,
OOIOO,
Delon & Dalcan,
This Heat,
Agent Orange,
A Flock of Seagulls,
Newcleus,
Neil Young & Crazy Horse,
Rowland S Howard / Lydia Lunch,
T.S.O.L.,
The Alarm Clocks,
Minny Pops,
Ultimate Spinach,
The Stooges,
The Sound,
Crash Course in Science,
Grauzone,
The Red Krayola,
Laurel Aitken,
Zapp,
Scientists,
a-ha,
John Coltrane,
Sonic Youth,
Groovy Waters,
Don Cherry,
Flash Fearless,
Roy Ayers Ubiquity,
The Velvet Underground,
Sixth Finger,
Sarah Menescal,
the Soft Cell,
Oppenheimer Analysis,
The Doobie Brothers,
Wasted Youth,
Fluxion,
Cabaret Voltaire,
Grandmaster Flash,
The Remains,
Skarface,
Michelle Simonal,
Jandek,
Dawn Penn,
Mission of Burma,
Gang Green,
Make Up,
Visionaries,LMNO, T- Love & Iriscience,
Duran Duran,
Scratch Acid, Scratch Acid, Scratch Acid, Scratch Acid.
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.