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 Malta and from Cairo.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Woodstock and Madrid.
I'm losing my edge to the art-school Stockholm 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 Captain Beefheart 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 Easy Going to the punk kids.
I played it at the Troubador.
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 David Axelrod. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every In Retrospect record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Sly & The Family Stone record.
I hear that you and your band have sold your oboe and bought a marimba.
I hear that you and your band have sold your marimba and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
Captain Beefheart & His Magic Band,
Carl Craig,
DJ Sneak,
Urselle,
Fugazi,
AZ,
Sarah Menescal,
L. Decosne,
Accadde A,
Marmalade,
Juan Atkins,
John Holt,
Pierre Henry,
Au Pairs,
Maurizio,
John Coltrane,
Erykah Badu,
Television Personalities,
Jesper Dahlback,
The Associates,
Angels of Light & Akron/Family,
Terrestrial Tones,
Bauhaus,
Blake Baxter,
Wolf Eyes,
Dawn Penn,
Das Ding,
Oneida,
the Germs,
Warsaw,
Massinfluence,
Rod Modell,
Anthony Braxton,
The Cure,
The Mighty Diamonds,
48th St. Collective,
Drexciya,
Barclay James Harvest,
The Electric Prunes,
Echospace,
Scratch Acid,
KRS-One,
the Sonics,
Roger Hodgson,
Althea and Donna,
Sexual Harrassment,
Kerri Chandler,
Bobbi Humphrey,
The Velvet Underground,
Pharaoh Sanders and the Fire Engines,
8 Eyed Spy,
The Blackbyrds,
Dead Boys,
Liliput,
Faust,
Niagra,
Adolescents,
Boredoms,
The Dirtbombs,
Kerrie Biddell,
The Doors,
Second Layer, Second Layer, Second Layer, Second Layer.
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.