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 Cuba and from Paris.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Manila and Lyon.
I'm losing my edge to the art-school Johannesburg 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 1984 at the first Arcadia practice in a loft in London.
I was working on the marimba 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 The Remains to the crunk kids.
I played it at the 40 Watt.
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 Lightning Bolt. All the underground hits.
All The New Christs tracks. I heard you have a vinyl of every Outsiders 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 '70s cut and another box set from the '90s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Sam Rivers record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy's Rubber Band,
Bluetip,
the Soft Cell,
Brand Nubian,
The Fire Engines,
Outsiders,
Schoolly D,
Y Pants,
Michelle Simonal,
Boogie Down Productions,
Kurtis Blow,
Soft Machine,
Reuben Wilson,
Accadde A,
Sixth Finger,
Infiniti,
The Dead C,
Maleditus Sound,
Pulsallama,
Susan Cadogan,
Eric B and Rakim,
Stockholm Monsters,
U.S. Maple,
The Selecter,
The Gun Club,
Roxy Music,
Mr. Review,
Andrew Hill,
Khruangbin,
Notorious Big And Bone Thugs,
the Swans,
Lou Reed,
Jacques Brel,
Robert Görl,
Deadbeat,
Jesper Dahlbäck,
Ultramagnetic MC's,
T.S.O.L.,
Oneida,
Quando Quango,
The Smoke,
DeepChord presents Echospace,
The Cure,
The Walker Brothers,
Sad Lovers and Giants,
The Sisters of Mercy,
Model 500,
Japan,
Jacob Miller,
Marshall Jefferson,
Marcia Griffiths,
Excepter,
Trumans Water,
Röyhkä ja Rättö ja Lehtisalo,
the Bar-Kays,
De La Soul & Jungle Brothers,
Electric Light Orchestra,
Theoretical Girls,
Albert Ayler,
Technova, Technova, Technova, Technova.
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.