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 Spain and from Mumbai.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Manila.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the theremin 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 Donald Byrd to the disco kids.
I played it at CBGB's.
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 Gil Scott-Heron and Jamie xx. All the underground hits.
All Spoonie Gee tracks. I heard you have a vinyl of every Jesper Dahlback record on German import.
I heard that you have a white label of every seminal dance 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 an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Zapp record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
Avey Tare & Kría Brekkan,
The Buckinghams,
Magma,
Arthur Verocai,
In Retrospect,
Jeff Lynne,
The United States of America,
Ludus,
H. Thieme,
Marmalade,
Magazine,
Gary Puckett & The Union Gap,
R.M.O.,
Tropical Tobacco,
The Star Department,
Crash Course in Science,
The Mummies,
Cymande,
Crime,
a-ha,
E-Dancer,
B.T. Express,
Fifty Foot Hose,
Bobby Hutcherson,
Blancmange,
The Knickerbockers,
Zero Boys,
Animal Collective,
Heavy D & The Boyz,
Eddi Front,
Unwound,
Justin Hinds & The Dominoes,
Gichy Dan,
Ultramagnetic MC's,
Pantytec,
Connie Case,
Bootsy's Rubber Band,
The Trojans,
The Searchers,
Electric Prunes,
L. Decosne,
The Smoke,
Mark Hollis,
John Lydon,
Marc Romboy vs. Booka Shade,
The Count Five,
Lonnie Liston Smith,
Eyeless In Gaza,
Thee Headcoats,
Johnny Clarke,
The Leaves,
Pussy Galore,
Deepchord,
Danielle Patucci,
Public Image Ltd.,
Grandmaster Flash and the Furious Five,
Radiohead,
Spandau Ballet,
Model 500,
Captain Beefheart & His Magic Band,
Brass Construction,
Jeff Mills,
Eric Copeland, Eric Copeland, Eric Copeland, Eric Copeland.
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.