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 Greece and from Manchester.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Houston and Lille.
I'm losing my edge to the art-school Shanghai 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 1973 at the first Television practice in a loft in New York.
I was working on the theremin 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 Barrington Levy to the rap kids.
I played it at the Astoria.
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 Rites of Spring. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every Essential Logic 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 '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a In Retrospect record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Index,
Terrestrial Tones,
Angry Samoans,
Ten City,
Joey Negro,
Wighnomy Brothers & Robag Wruhme,
The Doors,
Main Source,
Darondo,
Faust,
Yusef Lateef,
Tres Demented,
Brass Construction,
Joe Finger,
Sun Ra,
The Vogues,
Shoche,
Juan Atkins,
Quantec,
Anthony Braxton,
Model 500,
Sam Rivers,
Marc Romboy vs. Booka Shade,
The Moody Blues,
Thinking Fellers Union Local 282,
Rakim,
Crispian St. Peters,
Saccharine Trust,
Ossler,
Accadde A,
Freddie Wadling,
Faraquet,
Reuben Wilson,
a-ha,
Peter and Kerry,
Magma,
Roxy Music,
Camron Feat. Memphis Bleek And Beenie Seigel,
Lou Reed,
U.S. Maple,
Red Lorry Yellow Lorry,
The Birthday Party,
The Alarm Clocks,
Drexciya,
Rhythim Is Rhythim,
Dennis Brown,
Lafayette Afro Rock Band,
Flipper,
Eden Ahbez,
Sun City Girls,
The Techniques,
Aaron Thompson,
Glenn Branca,
Organ,
Scion,
Ice-T,
Terry Callier,
Dorothy Ashby,
Tim Buckley,
the Human League,
The Mighty Diamonds,
Scratch Acid,
Fat Boys,
PIL, PIL, PIL, PIL.
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.