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 Denmark and from Hong Kong.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Edmonton and Tehran.
I'm losing my edge to the art-school Madrid 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 mellotron 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 The Birthday Party to the rap 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 Tres Demented. All the underground hits.
All Depeche Mode tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal dance 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 synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moby Grape,
Anakelly,
Alice Coltrane,
The Detroit Cobras,
Dark Day,
Marshall Jefferson,
Blancmange,
Pussy Galore,
Au Pairs,
Quantec,
It's A Beautiful Day,
Drexciya,
Basic Channel,
Harry Pussy,
Albert Ayler,
Crooked Eye,
Crime,
Average White Band,
The Seeds,
Ornette Coleman,
Sugar Minott,
Fad Gadget,
Mark Hollis,
Quadrant,
Robert Görl,
kango's stein massive,
Joyce Sims,
The Human League,
The Count Five,
Television Personalities,
Derrick May,
Marvin Gaye,
June Days,
Liliput,
Althea and Donna,
The Barracudas,
Franke,
Sixth Finger,
K-Klass,
Deutsch Amerikanische Freundschaft,
Desert Stars,
the Bar-Kays,
Todd Rundgren,
Toni Rubio,
Robert Hood,
Neil Young,
Yaz,
Blake Baxter,
Thee Headcoats,
Das Ding,
Derrick Morgan,
Scratch Acid,
Young Marble Giants,
Flamin' Groovies,
Mandrill,
DNA,
Jacob Miller,
Beasts of Bourbon,
Intrusion,
Pharaoh Sanders and the Fire Engines,
Tomorrow,
Terrestrial Tones,
Hot Snakes, Hot Snakes, Hot Snakes, Hot Snakes.
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.