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 and from Shanghai.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 Madrid and Mumbai.
I'm losing my edge to the art-school Portland 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the harpsichord 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 The Slackers to the rock kids.
I played it at the Roxy.
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 Gil Scott-Heron & Brian Jackson. All the underground hits.
All Toni Rubio tracks. I heard you have a vinyl of every Yellowson 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 '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Tomorrow record.
I hear that you and your band have sold your 808 and bought a theremin.
I hear that you and your band have sold your theremin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
Barrington Levy,
Spandau Ballet,
Pantytec,
Lou Reed,
Deutsch Amerikanische Freundschaft,
The Jesus and Mary Chain,
Lalann,
Stockholm Monsters,
John Holt,
Soft Cell,
Dorothy Ashby,
Traffic Nightmare,
The Seeds,
The Smoke,
The Birthday Party,
The Associates,
Malaria!,
Sight & Sound,
Basic Channel,
Funky Four + One,
The Gladiators,
The Leaves,
Aaron Thompson,
Brick,
Q65,
Trumans Water,
The Flesh Eaters,
Funkadelic,
Fatback Band,
Rod Modell,
Connie Case,
The Doors,
Glenn Branca,
Gil Scott Heron,
Ultramagnetic MC's,
Pagans,
U.S. Maple,
The Slackers,
Blake Baxter,
Joe Smooth,
Altered Images,
Lalo Schifrin,
Tropical Tobacco,
Unrelated Segments,
Motorama,
Matthew Bourne,
Big Daddy Kane,
Liaisons Dangereuses,
The Grass Roots,
Derrick May,
Duran Duran,
Ralphi Rosario,
Von Mondo,
Be Bop Deluxe,
Man Parrish,
Lindisfarne,
The Cosmic Jokers,
Joensuu 1685,
Junior Murvin,
Glambeats Corp.,
Roxy Music,
Guru Guru,
Kerrie Biddell, Kerrie Biddell, Kerrie Biddell, Kerrie Biddell.
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.