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 Bhutan and from New York.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Lagos and Toronto.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the harpsichord 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 Soft Machine to the electroclash kids.
I played it at the Hacienda.
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 Harry Pussy. All the underground hits.
All Notorious BIG live in Amsterdam tracks. I heard you have a vinyl of every Grauzone record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Kinks record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacques Brel,
Ice-T,
Wolf Eyes,
Fad Gadget,
Idris Muhammad,
Ronnie Foster,
Fat Boys,
Avey Tare,
Eyeless In Gaza,
Thompson Twins,
Camouflage,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Maleditus Sound,
Chrome,
Mary Jane Girls,
David McCallum,
Ken Boothe,
Pharoah Sanders,
Derrick Morgan,
Donald Byrd,
Nas,
Mad Mike,
The Toasters,
Agitation Free,
Minor Threat,
La Düsseldorf,
Flipper,
Supertramp,
Tommy Roe,
MC5,
Amon Düül II,
Schoolly D,
Roy Ayers Ubiquity,
Scott Walker,
The Five Americans,
The Monochrome Set,
Bronski Beat,
John Holt,
Bobbi Humphrey,
Malaria!,
the Association,
The Blues Magoos,
Franke,
Rahsaan Roland Kirk,
Marc Romboy vs. Booka Shade,
Babytalk,
The Gladiators,
Alton Ellis,
Minutemen,
Subhumans,
Q and Not U,
Lindisfarne,
Traffic Nightmare,
Curtis Mayfield,
Morten Harket,
Roy Ayers,
Swell Maps,
Piero Umiliani,
KRS-One,
Colin Newman,
Drive Like Jehu, Drive Like Jehu, Drive Like Jehu, Drive Like Jehu.
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.