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 Guyana and from Bologna.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and Bremen.
I'm losing my edge to the art-school Beijing 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 harpsichord sounds with much patience.
I was there when David Bowie 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 punk kids.
I played it at the 40 Watt.
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 Eric Copeland. All the underground hits.
All Anthony Braxton tracks. I heard you have a vinyl of every Art Ensemble Of Chicago record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Kas Product record.
I hear that you and your band have sold your güiro and bought a 808.
I hear that you and your band have sold your 808 and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
B.T. Express,
LL Cool J,
X-Ray Spex,
Nik Kershaw,
Maleditus Sound,
The Neon Judgement,
Leonard Cohen,
Bill Wells,
Jerry Gold Smith,
Stetsasonic,
Wighnomy Brothers & Robag Wruhme,
Notorious BIG live in Amsterdam,
Fad Gadget,
Ossler,
Piero Umiliani,
The Count Five,
The Divine Comedy,
The Dave Clark Five,
Blossom Toes,
Radiopuhelimet,
Supertramp,
Man Parrish,
Delon & Dalcan,
Rhythim Is Rhythim,
Bang on a Can All-Stars,
Pantytec,
Mo-Dettes,
The Moody Blues,
The Five Americans,
Theoretical Girls,
Bobby Womack,
Sandy B,
The Jesus and Mary Chain,
Robert Hood,
Mandrill,
The Stooges,
Shuggie Otis,
Lyres,
Delta 5,
Mantronix,
The Mummies,
Grandmaster Flash,
Crime,
Slick Rick,
Carl Craig,
Electric Prunes,
Camouflage,
The Fuzztones,
The Blackbyrds,
Masters at Work,
Mad Mike,
Black Pus,
Althea and Donna,
Terry Callier,
Ash Ra Tempel,
China Crisis,
Crispian St. Peters,
Steve Hackett,
Sad Lovers and Giants,
DNA,
Oppenheimer Analysis,
The Pop Group, The Pop Group, The Pop Group, The Pop Group.
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.