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 Netherlands and from Jakarta.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1963 to 1975.
I'm losing my edge.
To all the kids in Lyon and Cairo.
I'm losing my edge to the art-school Jakarta 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 mellotron 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 Marcia Griffiths to the funk 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 Swell Maps. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every Arcadia record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Absolute Body Control 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?
James White and The Blacks,
Josef K,
The Jesus and Mary Chain,
The Evens,
The Peanut Butter Conspiracy,
Banda Bassotti,
Theoretical Girls,
Agitation Free,
The Flesh Eaters,
The Associates,
June Days,
Cabaret Voltaire,
Glambeats Corp.,
Freddie Wadling,
Bobby Byrd,
Prince Buster,
Ornette Coleman,
Section 25,
48th St. Collective,
Michelle Simonal,
Kango’s Stein Massive,
Archie Shepp,
Robert Görl,
The Toasters,
Henry Cow,
The Black Dice,
Electric Light Orchestra,
Pussy Galore,
Second Layer,
Bobbi Humphrey,
Althea and Donna,
Carl Craig,
Chrome,
The Vogues,
The Selecter,
Visage,
Franke,
Soul Sonic Force,
Lee Hazlewood,
Japan,
James Chance & The Contortions,
Rekid,
The Standells,
R.M.O.,
Dorothy Ashby,
Bang on a Can All-Stars,
Angels of Light & Akron/Family,
Tom Boy,
Fad Gadget,
Nas,
Visionaries,LMNO, T- Love & Iriscience,
Girls At Our Best!,
Bootsy Collins,
Amon Düül II,
Peter & Gordon,
Marine Girls,
Barrington Levy,
Donny Hathaway,
Yusef Lateef,
Lizzy Mercier Descloux,
China Crisis,
Isaac Hayes,
Minor Threat,
Marmalade, Marmalade, Marmalade, Marmalade.
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.