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 St Lucia and from Stockholm.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1979.
I'm losing my edge.
To all the kids in Bologna and Bologna.
I'm losing my edge to the art-school Jakarta 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Donald Fagen 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 LL Cool J to the funk kids.
I played it at the Roxy.
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 Peter Gordon & Love of Life Orchestra. All the underground hits.
All Nik Kershaw tracks. I heard you have a vinyl of every Man Parrish record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Schoolly D record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool Moe Dee,
Kerri Chandler,
Pierre Henry,
The Vogues,
Second Layer,
The Fuzztones,
Johnny Clarke,
Blake Baxter,
Cameo,
Bluetip,
These Immortal Souls,
Roy Ayers Ubiquity,
Slave,
Sun Ra Arkestra,
Dennis Brown,
Das Ding,
Curtis Mayfield,
Bobbi Humphrey,
Niagra,
Wings,
Babytalk,
Aural Exciters,
kango's stein massive,
T. Rex,
The Knickerbockers,
Juan Atkins,
Lou Reed,
Tomorrow,
The Remains,
The Barracudas,
Terry Callier,
Wighnomy Brothers & Robag Wruhme,
London Community Gospel Choir,
Groovy Waters,
Joyce Sims,
Lightning Bolt,
Anthony Braxton,
Symarip,
The Kinks,
Model 500,
Absolute Body Control,
Eden Ahbez,
The Pop Group,
Harmonia,
Minnie Riperton,
Dark Day,
Soft Cell,
Ken Boothe,
Blancmange,
Michelle Simonal,
Marmalade,
Jeff Lynne,
Kaleidoscope,
U.S. Maple,
Alice Coltrane,
Jeru the Damaja,
Roxette,
Peter & Gordon,
Peter and Kerry,
Spandau Ballet,
Fatback Band,
Crispian St. Peters,
Gong,
Skriet, Skriet, Skriet, Skriet.
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.