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 Tonga and from Lyon.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Bremen and Delhi.
I'm losing my edge to the art-school Tehran 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 Josef K practice in a loft in Edinburgh.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 Minnie Riperton to the rap 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 Rufus Thomas. All the underground hits.
All The Toasters tracks. I heard you have a vinyl of every Brothers Johnson record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fifty Foot Hose,
Black Pus,
The Jesus and Mary Chain,
Roger Hodgson,
Hoover,
Simply Red,
Kurtis Blow,
Slave,
Marcia Griffiths,
Dawn Penn,
Man Parrish,
Eden Ahbez,
Reagan Youth,
Wasted Youth,
Q65,
CMW,
Moebius,
Shoche,
Roy Ayers Ubiquity,
Alison Limerick,
Au Pairs,
Pere Ubu,
Groovy Waters,
The Mojo Men,
Fela Kuti,
Monks,
Avey Tare & Kría Brekkan,
Depeche Mode,
X-101,
Smog,
Magazine,
The Pop Group,
The Moleskins,
Bill Wells,
Eric B and Rakim,
Chris Corsano,
Motorama,
Gichy Dan,
The Barracudas,
The United States of America,
Public Enemy,
Ohio Players,
Icehouse,
Arthur Verocai,
Ludus,
Scott Walker + Sunn O))),
Fort Wilson Riot,
The Dirtbombs,
Lou Christie,
KRS-One,
David Axelrod,
Delta 5,
Von Mondo,
Lakeside,
Gary Puckett & The Union Gap,
Bobby Hutcherson,
Sun Ra Arkestra,
The Doors,
Big Daddy Kane,
Dark Day,
Cameo, Cameo, Cameo, Cameo.
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.