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 United States and from New York.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Paris and Lagos.
I'm losing my edge to the art-school Salvador 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Bang on a Can All-Stars to the grime kids.
I played it at the Hacienda.
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 Fugazi. All the underground hits.
All The Smiths tracks. I heard you have a vinyl of every Orchestral Manoeuvres in the Dark 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 '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Freddie Wadling,
In Retrospect,
Kool Moe Dee,
Rowland S Howard / Lydia Lunch,
Joe Finger,
Bobby Sherman,
JFA,
World's Most,
DJ Sneak,
kango's stein massive,
Eric Dolphy,
The Doors,
Vainqueur,
Glenn Branca,
Country Joe & The Fish,
Visage,
Monolake,
Lower 48,
Eli Mardock,
Fela Kuti,
Avey Tare's Slasher Flicks,
David Axelrod,
Parry Music,
Gichy Dan,
Bobby Byrd,
Cabaret Voltaire,
Zero Boys,
Delta 5,
Hashim,
Minutemen,
Kauko Röyhkä ja Narttu,
Donald Byrd,
Porter Ricks,
The Standells,
Liaisons Dangereuses,
Make Up,
Orchestral Manoeuvres in the Dark,
Idris Muhammad,
Eric B and Rakim,
Goldenarms,
X-101,
Lou Reed & John Cale,
The Moleskins,
Kaleidoscope,
Amon Düül,
Shuggie Otis,
The Cosmic Jokers,
Angels of Light & Akron/Family,
Roger Hodgson,
Andrew Ashong & Theo Parrish,
La Düsseldorf,
Spoonie Gee,
Grey Daturas,
Bauhaus,
Delon & Dalcan,
Jeff Mills,
Mr. Review,
Newcleus,
the Association,
Neil Young & Crazy Horse,
Con Funk Shun,
The Gladiators,
DeepChord presents Echospace,
Public Enemy, Public Enemy, Public Enemy, Public Enemy.
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.