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 France and from Madrid.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1970.
I'm losing my edge.
To all the kids in New York and Madrid.
I'm losing my edge to the art-school Lagos 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 sitar 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 The Index to the techno 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 kango's stein massive. All the underground hits.
All FM Einheit tracks. I heard you have a vinyl of every The Doors 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 '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Steve Hackett record.
I hear that you and your band have sold your oboe and bought a marimba.
I hear that you and your band have sold your marimba and bought an oboe.
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,
Drexciya,
D'Angelo,
Eric Copeland,
Roxy Music,
Oneida,
Crime,
a-ha,
Sarah Menescal,
Ronnie Foster,
Half Japanese,
the Fania All-Stars,
David McCallum,
Cymande,
Ohio Players,
Sixth Finger,
The Sound,
Alice Coltrane,
The Skatalites,
Adolescents,
Babytalk,
Brass Construction,
Avey Tare,
Cluster,
Wasted Youth,
Stereo Dub,
Heaven 17,
Oppenheimer Analysis,
Porter Ricks,
Lonnie Liston Smith,
Boogie Down Productions,
Lungfish,
Deutsch Amerikanische Freundschaft,
Gabor Szabo,
The Count Five,
Fad Gadget,
The Cosmic Jokers,
Bobby Sherman,
Pierre Henry,
The Evens,
Dennis Brown,
Hot Snakes,
Alphaville,
Zapp,
Jandek,
Index,
Man Parrish,
Rakim,
Public Enemy,
The Slackers,
Rahsaan Roland Kirk,
Dorothy Ashby,
Soulsonic Force,
Amazonics,
Dead Boys,
Intrusion,
Kool Moe Dee,
The Monochrome Set,
Delta 5,
Stetsasonic,
Isaac Hayes,
Mr. Review,
The Dirtbombs, The Dirtbombs, The Dirtbombs, The Dirtbombs.
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.