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 Armenia and from Johannesburg.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1967 to 1977.
I'm losing my edge.
To all the kids in New York and Accra.
I'm losing my edge to the art-school Delhi 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 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 Mad Mike to the disco kids.
I played it at Trash.
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 Funky Four + One. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Maleditus Sound record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Shuggie Otis record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
Susan Cadogan,
The Velvet Underground,
Little Man,
Soft Cell,
Dr. Dre and Snoop Doggy Dog,
Lalann,
Scratch Acid,
L. Decosne,
Au Pairs,
The Trojans,
Bang On A Can,
ABC,
Jimmy McGriff,
Porter Ricks,
Nick Fraelich,
Teenage Jesus and the Jerks,
Scott Walker,
The Buckinghams,
Judy Mowatt,
It's A Beautiful Day,
Nils Olav,
The Saints,
Unrelated Segments,
Bob Dylan,
Man Parrish,
The Golliwogs,
Ken Boothe,
Kayak,
Kauko Röyhkä ja Narttu,
Gastr Del Sol,
Wally Richardson,
Joey Negro,
Andrew Ashong & Theo Parrish,
Scion,
Severed Heads,
Oblivians,
Beasts of Bourbon,
Los Fastidios,
KRS-One,
Traffic Nightmare,
Bobby Womack,
Vladislav Delay,
Camron Feat. Memphis Bleek And Beenie Seigel,
Nation of Ulysses,
Brand Nubian,
Brass Construction,
Pet Shop Boys,
In Retrospect,
Pole,
The Star Department,
The Last Poets,
Organ,
Terror Squad Feat. Camron,
Audionom,
Lou Reed & Metallica,
Jeff Mills,
Jeff Lynne,
Gerry Rafferty,
The Alarm Clocks,
Sly & The Family Stone,
Danielle Patucci, Danielle Patucci, Danielle Patucci, Danielle Patucci.
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.