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 Mali and from Edmonton.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Manchester and Mexico City.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb 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 Rapeman to the disco kids.
I played it at the Astoria.
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 Marvin Gaye. All the underground hits.
All Man Eating Sloth tracks. I heard you have a vinyl of every The Flesh Eaters 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 '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Kerri Chandler record.
I hear that you and your band have sold your 808 and bought a snare.
I hear that you and your band have sold your snare and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang on a Can All-Stars,
The Wake,
Public Image Ltd.,
Kango’s Stein Massive,
Japan,
Gian Franco Pienzio,
Gregory Isaacs,
Average White Band,
Kerrie Biddell,
Terror Squad Feat. Camron,
Unrelated Segments,
Larry & the Blue Notes,
London Community Gospel Choir,
Electric Light Orchestra,
Faraquet,
D'Angelo,
Man Eating Sloth,
Steve Hackett,
Orchestral Manoeuvres in the Dark,
Crispian St. Peters,
Prince Buster,
The Tremeloes,
Rufus Thomas,
H. Thieme,
Justin Hinds & The Dominoes,
The J.B.'s,
Joey Negro,
Gabor Szabo,
Niagra,
The Litter,
Dual Sessions,
The United States of America,
the Soft Cell,
Groovy Waters,
Rosa Yemen,
Idris Muhammad,
Kas Product,
Avey Tare's Slasher Flicks,
Pussy Galore,
kango's stein massive,
Mark Hollis,
Terrestrial Tones,
Inner City,
Ultra Naté,
Kurtis Blow,
Aswad,
Faust,
Tropical Tobacco,
Lizzy Mercier Descloux,
Pet Shop Boys,
Pharoah Sanders,
Dead Boys,
Susan Cadogan,
Black Moon,
Barry Ungar,
Art Ensemble Of Chicago,
Donald Byrd,
Glambeats Corp.,
New Order,
Roy Ayers Ubiquity,
Essential Logic,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.