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 Ethiopia and from Tehran.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Jakarta and Lille.
I'm losing my edge to the art-school Halifax 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the theremin 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 Lizzy Mercier Descloux to the dance kids.
I played it at the Troubador.
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 Accadde A. All the underground hits.
All 10cc tracks. I heard you have a vinyl of every Television record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a D'Angelo record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Section 25,
Kool G Rap & DJ Polo,
Wasted Youth,
Organ,
Smog,
Moby Grape,
Brass Construction,
Ralphi Rosario,
Derrick May,
Alice Coltrane,
Tears for Fears,
Deutsch Amerikanische Freundschaft,
June Days,
Crime,
Avey Tare,
Swans,
Röyhkä ja Rättö ja Lehtisalo,
Tom Boy,
The Royal Family And The Poor,
Ultramagnetic MC's,
Von Mondo,
Easy Going,
Scott Walker,
Eden Ahbez,
The Slits,
Gary Puckett & The Union Gap,
Soulsonic Force,
Bill Wells,
Funkadelic,
Supertramp,
JFA,
Niagra,
OOIOO,
Soul II Soul,
Sparks,
Frankie Knuckles,
The Doors,
LL Cool J,
Kings Of Tomorrow,
Kerri Chandler,
Motorama,
Sight & Sound,
Fear,
The Victims,
Lindisfarne,
Eurythmics,
Brick,
Sonny Sharrock,
Wings,
Skriet,
Liaisons Dangereuses,
Dead Boys,
Model 500,
A Certain Ratio,
Lebanon Hanover,
Bang On A Can,
Eric B and Rakim,
Faust,
the Swans,
48th St. Collective,
Bobby Womack,
Crispian St. Peters,
Cymande,
The Shadows of Knight, The Shadows of Knight, The Shadows of Knight, The Shadows of Knight.
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.