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 Israel and from Lagos.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Lille and Cairo.
I'm losing my edge to the art-school Paris 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 1979 at the first Second Layer practice in a loft in South London.
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 Todd Rundgren to the techno kids.
I played it at Cafe Wha.
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 Stockholm Monsters. All the underground hits.
All Mr. Review tracks. I heard you have a vinyl of every Major Organ And The Adding Machine 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 '50s cut and another box set from the '80s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Eating Sloth,
Gil Scott Heron,
Judy Mowatt,
Goldenarms,
Barclay James Harvest,
Ponytail,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ituana,
Yazoo,
Mad Mike,
Soulsonic Force,
Lebanon Hanover,
Gil Scott-Heron & Brian Jackson,
Joe Smooth,
Glambeats Corp.,
Infiniti,
Peter Gordon & Love of Life Orchestra,
Theoretical Girls,
The Slits,
Adolescents,
DJ Style,
Pulsallama,
Roger Hodgson,
Juan Atkins,
Delta 5,
Flash Fearless,
Susan Cadogan,
Chris Corsano,
B.T. Express,
Erykah Badu,
Avey Tare's Slasher Flicks,
Stereo Dub,
Isaac Hayes,
Eric Dolphy,
Clear Light,
Idris Muhammad,
The Names,
Crispy Ambulance,
Radiopuhelimet,
The Mummies,
Mary Jane Girls,
Quando Quango,
Lyres,
Roxy Music,
Loose Ends,
The Dirtbombs,
These Immortal Souls,
DJ Sneak,
Massinfluence,
June Days,
Con Funk Shun,
Ultimate Spinach,
Schoolly D,
The J.B.'s,
Barrington Levy,
Amon Düül II,
Fatback Band,
Scratch Acid,
Drexciya,
Kango’s Stein Massive,
Eve St. Jones,
Althea and Donna, Althea and Donna, Althea and Donna, Althea and Donna.
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.