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 Italy and from Cairo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Jakarta and New York.
I'm losing my edge to the art-school Seoul 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 marimba sounds with much patience.
I was there when Nile Rodgers 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 Patti Smith to the funk 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 Bang on a Can All-Stars. All the underground hits.
All Slave tracks. I heard you have a vinyl of every Robert Görl record on German import.
I heard that you have a white label of every seminal rap 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 a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Robert Hood record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scott Walker,
Lebanon Hanover,
Brand Nubian,
Soul Sonic Force,
Eurythmics,
Magazine,
Carl Craig,
Kauko Röyhkä ja Narttu,
The Offenders,
Matthew Halsall,
Wings,
Blancmange,
Pharaoh Sanders and the Fire Engines,
Liliput,
Selector Dub Narcotic,
Q65,
Organ,
Ultra Naté,
The Jesus and Mary Chain,
Crash Course in Science,
David Axelrod,
Eric B and Rakim,
Rod Modell,
Essential Logic,
Joyce Sims,
Echospace,
Ajijia Myrayebe,
Main Source,
Ponytail,
Wolf Eyes,
Matthew Bourne,
Ralphi Rosario,
Minor Threat,
Simply Red,
R.M.O.,
Banda Bassotti,
The Index,
The Star Department,
Aloha Tigers,
Todd Rundgren,
Frankie Knuckles,
Gastr Del Sol,
The Cosmic Jokers,
The Birthday Party,
Delon & Dalcan,
Dave Gahan,
Tropical Tobacco,
LL Cool J,
Khruangbin,
X-102,
Faraquet,
Monolake,
Index,
Lou Christie,
Ornette Coleman,
Skarface,
Yusef Lateef,
De La Soul & Jungle Brothers,
Roxette,
Mark Hollis,
The Fire Engines,
In Retrospect,
Rapeman,
Quadrant, Quadrant, Quadrant, Quadrant.
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.