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 Mexico and from London.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1974.
I'm losing my edge.
To all the kids in Lagos and Houston.
I'm losing my edge to the art-school Delhi 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the güiro sounds with much patience.
I was there when Robert Palmer 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 Lyres to the jazz kids.
I played it at the Hacienda.
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 Rowland S Howard / Lydia Lunch. All the underground hits.
All Electric Prunes tracks. I heard you have a vinyl of every Man Eating Sloth record on German import.
I heard that you have a white label of every seminal techno 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 synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Machine,
Fluxion,
E-Dancer,
Sun Ra,
Eurythmics,
Lebanon Hanover,
The Pop Group,
The Dave Clark Five,
Cecil Taylor,
Archie Shepp,
Stockholm Monsters,
Ohio Players,
Barbara Tucker,
Gil Scott-Heron & Brian Jackson,
Index,
The Associates,
Anthony Braxton,
DNA,
Scientists,
Brand Nubian,
The Slackers,
The Moleskins,
Andrew Ashong & Theo Parrish,
James White and The Blacks,
Buzzcocks,
Au Pairs,
Sparks,
Maleditus Sound,
Amon Düül,
Half Japanese,
Roxy Music,
Nirvana,
The Beau Brummels,
Reuben Wilson,
Cabaret Voltaire,
Groovy Waters,
Flipper,
Khruangbin,
Sad Lovers and Giants,
Mad Mike,
Newcleus,
Steve Hackett,
Magazine,
Camberwell Now,
Nik Kershaw,
Blossom Toes,
Eric B and Rakim,
Peter and Kerry,
Agitation Free,
Jandek,
Absolute Body Control,
Radiopuhelimet,
The Sonics,
Orchestral Manoeuvres in the Dark,
Amon Düül II,
Icehouse,
PIL,
The Monks,
Camouflage,
Ash Ra Tempel,
kango's stein massive,
Michelle Simonal,
Pete Rock & C.L. Smooth,
Con Funk Shun, Con Funk Shun, Con Funk Shun, Con Funk Shun.
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.