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 Afghanistan and from Delhi.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Lille.
I'm losing my edge to the art-school Tokyo 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the rhodes 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 Brass Construction to the disco kids.
I played it at the Crocodile.
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 Notorious Big And Bone Thugs. All the underground hits.
All Ice-T tracks. I heard you have a vinyl of every The Last Poets record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rotary Connection,
Steve Hackett,
Smog,
Ten City,
Soul Sonic Force,
Pharaoh Sanders and the Fire Engines,
The Detroit Cobras,
Brick,
The Litter,
Andrew Hill,
Minutemen,
Nico,
48th St. Collective,
David Bowie,
Electric Light Orchestra,
The Searchers,
Rosa Yemen,
Sister Nancy,
Model 500,
Bobby Hutcherson,
The Happenings,
The Residents,
The Durutti Column,
Von Mondo,
Negative Approach,
Stockholm Monsters,
Derrick May,
Pulsallama,
Captain Beefheart & His Magic Band,
The Gladiators,
Sparks,
Cabaret Voltaire,
Mars,
Circle Jerks,
Flipper,
The Vogues,
E-Dancer,
Beasts of Bourbon,
Arthur Verocai,
Avey Tare's Slasher Flicks,
Dead Boys,
Arcadia,
Gang of Four,
Suburban Knight,
The Blackbyrds,
ABC,
Buzzcocks,
Bauhaus,
Tropical Tobacco,
Ituana,
Underground Resistance,
Altered Images,
The Smiths,
Fluxion,
Camron Feat. Memphis Bleek And Beenie Seigel,
Henry Cow,
Darondo,
Make Up,
Royal Trux,
In Retrospect,
Pole,
Gil Scott-Heron & Brian Jackson,
The Gap Band,
Joe Finger, Joe Finger, Joe Finger, Joe Finger.
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.