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 Marshall Islands and from Lyon.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1975.
I'm losing my edge.
To all the kids in Winnipeg and Lagos.
I'm losing my edge to the art-school Portland 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 1984 at the first Arcadia practice in a loft in London.
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 Brick 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 Connie Case. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every Röyhkä ja Rättö ja Lehtisalo record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Glambeats Corp. record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crispian St. Peters,
the Soft Cell,
Camberwell Now,
DNA,
Marc Romboy vs. Booka Shade,
Drive Like Jehu,
Grey Daturas,
Funky Four + One,
Gong,
Avey Tare's Slasher Flicks,
The Wake,
Gang Starr,
Cabaret Voltaire,
Jeru the Damaja,
Second Layer,
Quando Quango,
The Offenders,
Stiv Bators,
Crash Course in Science,
Fatback Band,
Underground Resistance,
Joyce Sims,
CMW,
Minny Pops,
Barry Ungar,
Nirvana,
The Alarm Clocks,
Model 500,
Teenage Jesus and the Jerks,
Scratch Acid,
Sun Ra Arkestra,
Moss Icon,
Eric Copeland,
The Five Americans,
Sam Rivers,
Japan,
Rhythm & Sound,
Lonnie Liston Smith,
Ultra Naté,
The Slackers,
Avey Tare & Kría Brekkan,
The Selecter,
Liaisons Dangereuses,
Mad Mike,
Jandek,
Television,
Nas,
K-Klass,
Pharaoh Sanders and the Fire Engines,
The Divine Comedy,
Wings,
Surgeon,
The Victims,
Television Personalities,
Brand Nubian,
Todd Terry,
Thinking Fellers Union Local 282,
Jimmy McGriff,
Porter Ricks,
Lizzy Mercier Descloux,
Jesper Dahlbäck,
Mr. Review,
Graham Central Station,
Von Mondo, Von Mondo, Von Mondo, Von Mondo.
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.