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 Burundi 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 1969 to 1973.
I'm losing my edge.
To all the kids in Manchester and Paris.
I'm losing my edge to the art-school Lille 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the linndrum sounds with much patience.
I was there when Captain Beefheart 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 Nation of Ulysses to the grunge kids.
I played it at the Troubador.
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 Masters at Work. All the underground hits.
All Can tracks. I heard you have a vinyl of every Scan 7 record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare,
Joe Smooth,
OOIOO,
JFA,
Harry Pussy,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Robert Hood,
Dark Day,
Adolescents,
Amon Düül,
Nils Olav,
Soulsonic Force,
Marshall Jefferson,
The Searchers,
Stiv Bators,
Fluxion,
the Human League,
Alice Coltrane,
The Black Dice,
Lou Reed & John Cale,
Lindisfarne,
Monolake,
Massinfluence,
Bronski Beat,
Spandau Ballet,
Essential Logic,
Scion,
Crash Course in Science,
Larry & the Blue Notes,
Jeru the Damaja,
Piero Umiliani,
Johnny Clarke,
Ornette Coleman,
Notorious Big And Bone Thugs,
Marc Almond,
Maleditus Sound,
Audionom,
Bush Tetras,
Sonic Youth,
Erykah Badu,
Gong,
Slick Rick,
Tomorrow,
Soft Cell,
Ultra Naté,
Thee Headcoats,
Janne Schatter,
The Offenders,
Aswad,
Hot Snakes,
Franke,
Kool G Rap & DJ Polo,
The Mummies,
Bill Wells,
Parry Music,
Boredoms,
Avey Tare & Kría Brekkan,
Ice-T,
Monks,
Desert Stars,
The Names,
Johnny Osbourne,
B.T. Express,
Hardrive,
Carl Craig, Carl Craig, Carl Craig, Carl Craig.
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.