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 Equatorial Guinea and from Sao Paulo.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1964 to 1971.
I'm losing my edge.
To all the kids in London and Delhi.
I'm losing my edge to the art-school Edmonton 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the mellotron sounds with much patience.
I was there when Tom Verlaine 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 Vladislav Delay to the rap 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 Sam Rivers. All the underground hits.
All Organ tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang of Four,
Oppenheimer Analysis,
Zapp,
Thompson Twins,
Todd Rundgren,
Jawbox,
Big Daddy Kane,
X-Ray Spex,
New Order,
Joensuu 1685,
Ultramagnetic MC's,
Bobbi Humphrey,
Youth Brigade,
Lalo Schifrin,
Stockholm Monsters,
The Music Machine,
Procol Harum,
Peter Gordon & Love of Life Orchestra,
Althea and Donna,
Oblivians,
Larry & the Blue Notes,
Theoretical Girls,
Toni Rubio,
The Victims,
Clear Light,
Sticky Fingaz feat. Raekwon,
Kaleidoscope,
Jacques Brel,
Barbara Tucker,
Blancmange,
Todd Terry,
Jesper Dahlback,
Lou Reed,
the Normal,
The American Breed,
Vaughan Mason & Crew,
The Misunderstood,
Ornette Coleman,
Soft Machine,
Frankie Knuckles,
48th St. Collective,
Harpers Bizarre,
The Birthday Party,
Rufus Thomas,
Public Image Ltd.,
Anthony Braxton,
L. Decosne,
Ituana,
Au Pairs,
OOIOO,
Bootsy's Rubber Band,
Joe Smooth,
Deepchord,
Selector Dub Narcotic,
Cybotron,
Morten Harket,
Con Funk Shun,
Alphaville,
Art Ensemble Of Chicago,
Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants.
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.