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 Botswana and from Mexico City.
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 1977.
I'm losing my edge.
To all the kids in Hong Kong and Columbus.
I'm losing my edge to the art-school Mexico City 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 chamberlin 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 Jeff Mills to the dance kids.
I played it at CBGB's.
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 Country Teasers. All the underground hits.
All Joe Finger tracks. I heard you have a vinyl of every the Germs record on German import.
I heard that you have a white label of every seminal crunk 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 guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Derrick Morgan record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Hutcherson,
Parry Music,
Art Ensemble Of Chicago,
The Pop Group,
Kerrie Biddell,
Electric Light Orchestra,
The Angels of Light,
Faust,
Index,
Black Bananas,
KRS-One,
Yellowson,
The Tremeloes,
DJ Sneak,
Brick,
Barbara Tucker,
Fela Kuti,
Von Mondo,
Stereo Dub,
Eve St. Jones,
Hashim,
Oblivians,
Thee Headcoats,
Public Image Ltd.,
World's Most,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Chrome,
Radiopuhelimet,
Ronnie Foster,
Nico,
Max Romeo,
Ultimate Spinach,
Alison Limerick,
Peter Gordon & Love of Life Orchestra,
Delta 5,
Sex Pistols,
Lee Hazlewood,
Accadde A,
Metal Thangz,
The Sisters of Mercy,
cv313,
Rahsaan Roland Kirk,
The Names,
Cymande,
Arcadia,
Infiniti,
Pharoah Sanders,
Rhythm & Sound,
a-ha,
Bluetip,
Brass Construction,
Joensuu 1685,
Sparks,
Nirvana,
CMW,
Gregory Isaacs,
The Zeros,
The Slits,
Pylon,
The Saints,
The Fuzztones,
Rites of Spring,
John Foxx,
The Residents, The Residents, The Residents, The Residents.
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.