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 Slovakia and from Woodstock.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Tokyo and Tokyo.
I'm losing my edge to the art-school Beijing 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 rhodes sounds with much patience.
I was there when Michael McDonald 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 Oppenheimer Analysis to the disco kids.
I played it at Trash.
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 Brass Construction. All the underground hits.
All Faraquet tracks. I heard you have a vinyl of every Lonnie Liston Smith record on German import.
I heard that you have a white label of every seminal grime 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 clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Kerri Chandler record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sound Behaviour,
Thee Headcoats,
Roger Hodgson,
Warren Ellis,
Ossler,
New Age Steppers,
Surgeon,
Malaria!,
Eyeless In Gaza,
Reagan Youth,
Neu!,
Sixth Finger,
Rekid,
Eric Copeland,
Arab on Radar,
The Associates,
Suicide,
Visage,
Monks,
Neil Young,
Magma,
Cameo,
Gang of Four,
Mark Hollis,
Don Cherry,
Drive Like Jehu,
Delon & Dalcan,
Piero Umiliani,
Lebanon Hanover,
E-Dancer,
Crime,
The Move,
James White and The Blacks,
The Gun Club,
Sam Rivers,
Nik Kershaw,
Lindisfarne,
The Mighty Diamonds,
Royal Trux,
The Star Department,
The Velvet Underground,
Agitation Free,
UT,
Judy Mowatt,
Maleditus Sound,
The Victims,
John Coltrane,
Soul Sonic Force,
Bronski Beat,
X-101,
The Count Five,
Marshall Jefferson,
The Gories,
Grey Daturas,
The Gap Band,
Adolescents,
Camouflage,
Crispy Ambulance,
Pharaoh Sanders and the Fire Engines,
The Shadows of Knight,
Kevin Saunderson,
Bill Near, Bill Near, Bill Near, Bill Near.
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.