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 Namibia and from Lyon.
But I was there.
I was there in .
I was there at the first Suicide 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 1969 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Taipei.
I'm losing my edge to the art-school Bologna 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Boz Scaggs to the techno kids.
I played it at the Crocodile.
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 the Fania All-Stars. All the underground hits.
All New Age Steppers tracks. I heard you have a vinyl of every The Jesus and Mary Chain record on German import.
I heard that you have a white label of every seminal grime 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 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Beau Brummels record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Terry,
Red Lorry Yellow Lorry,
Jacques Brel,
Avey Tare's Slasher Flicks,
Marcia Griffiths,
Tomorrow,
Derrick May,
The Golliwogs,
Lalo Schifrin,
Clear Light,
Skaos,
Archie Shepp,
Patti Smith,
Warsaw,
Sister Nancy,
Dual Sessions,
The Shadows of Knight,
The Men They Couldn't Hang,
Henry Cow,
Ituana,
Lee Hazlewood,
John Cale,
Wire,
Kool G Rap & DJ Polo,
Alice Coltrane,
The Divine Comedy,
Art Ensemble Of Chicago,
Bobby Sherman,
The Misunderstood,
The Move,
Kerrie Biddell,
Joe Finger,
Brothers Johnson,
Swell Maps,
Essential Logic,
Joyce Sims,
UT,
the Swans,
Fatback Band,
Sonny Sharrock,
Liaisons Dangereuses,
the Normal,
Dave Gahan,
Pole,
Tim Buckley,
Ken Boothe,
Soft Cell,
Kurtis Blow,
Reagan Youth,
Crooked Eye,
Deakin,
Michelle Simonal,
DNA,
Junior Murvin,
Skarface,
CMW,
These Immortal Souls,
The Mighty Diamonds,
the Association,
Jimmy McGriff,
Subhumans,
Beasts of Bourbon,
the Fania All-Stars,
Cybotron, Cybotron, Cybotron, Cybotron.
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.