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 Guinea-Bissau and from Manila.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Manchester.
I'm losing my edge to the art-school Tehran 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 1973 at the first Television practice in a loft in New York.
I was working on the 808 sounds with much patience.
I was there when Robert Palmer 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 Alison Limerick to the rock kids.
I played it at the Spitz.
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 Anthony Braxton. All the underground hits.
All Sly & The Family Stone tracks. I heard you have a vinyl of every Black Pus 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 '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Duran Duran record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Leaves,
The Invisible,
China Crisis,
Red Lorry Yellow Lorry,
Barrington Levy,
The Flesh Eaters,
John Coltrane,
Stockholm Monsters,
Public Enemy,
The Royal Family And The Poor,
Jacob Miller,
Agent Orange,
MDC,
Stetsasonic,
Nico,
Kango’s Stein Massive,
The Grass Roots,
Chrome,
Make Up,
Hardrive,
Mandrill,
Parry Music,
Amazonics,
D'Angelo,
Public Image Ltd.,
Cymande,
Adolescents,
The Walker Brothers,
Oneida,
Brass Construction,
Gastr Del Sol,
Ultimate Spinach,
Ten City,
The Mojo Men,
Jesper Dahlback,
Donald Byrd,
The Names,
Peter Gordon & Love of Life Orchestra,
New Order,
Jimmy McGriff,
Dark Day,
The Barracudas,
Massinfluence,
Barclay James Harvest,
Mo-Dettes,
Pylon,
La Düsseldorf,
Tubeway Army,
The Techniques,
The Peanut Butter Conspiracy,
Q and Not U,
The Angels of Light,
Kerrie Biddell,
Animal Collective,
Japan,
The Velvet Underground,
Manfred Mann's Earth Band,
The Trojans,
Sunsets and Hearts,
The Vogues,
Main Source, Main Source, Main Source, Main Source.
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.