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 Papua New Guinea and from Stockholm.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Madrid and Calgary.
I'm losing my edge to the art-school New York 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 Buzzcocks practice in a loft in Bolton.
I was working on the marimba sounds with much patience.
I was there when Donald Fagen 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 Cecil Taylor to the rap kids.
I played it at the Spitz.
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 DNA. All the underground hits.
All Adolescents tracks. I heard you have a vinyl of every Camron Feat. Jay Z And Juelz record on German import.
I heard that you have a white label of every seminal rock 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 clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Simply Red record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Moon,
KRS-One,
Gang Starr,
The Dave Clark Five,
Big Daddy Kane,
Peter & Gordon,
Negative Approach,
The Fire Engines,
Man Eating Sloth,
Adolescents,
Suicide,
Marc Romboy vs. Booka Shade,
Bill Near,
Mantronix,
Justin Hinds & The Dominoes,
Sad Lovers and Giants,
Khruangbin,
Laurel Aitken,
JFA,
Niagra,
Harpers Bizarre,
Tommy Roe,
Delon & Dalcan,
Hoover,
The Misunderstood,
Echospace,
Cymande,
New Age Steppers,
Pussy Galore,
Oblivians,
The Cowsills,
X-Ray Spex,
Skarface,
Scott Walker + Sunn O))),
Magazine,
Freddie Wadling,
Country Teasers,
Lucky Dragons,
Roxette,
Marshall Jefferson,
Faraquet,
Barrington Levy,
Camron Feat. Memphis Bleek And Beenie Seigel,
One Last Wish,
Sound Behaviour,
Tomorrow,
Warsaw,
Aswad,
The Remains,
John Holt,
Eli Mardock,
Schoolly D,
Bobby Byrd,
Flash Fearless,
Shoche,
The Wake,
Electric Light Orchestra,
Neu!,
Radiohead,
It's A Beautiful Day,
Marvin Gaye,
Dual Sessions,
The J.B.'s,
Japan, Japan, Japan, Japan.
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.