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 Armenia and from Manila.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Columbus and Johannesburg.
I'm losing my edge to the art-school Milan 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 1967 at the first Rodriguez practice in a loft in Detroit.
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 Quadrant to the dance kids.
I played it at Trash.
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 Josef K. All the underground hits.
All kango's stein massive tracks. I heard you have a vinyl of every Angry Samoans 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 '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Bad Manners record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Index,
Arthur Verocai,
James Chance & The Contortions,
Heavy D & The Boyz,
Ten City,
Reagan Youth,
Alison Limerick,
Alphaville,
Interpol,
Tropical Tobacco,
cv313,
X-Ray Spex,
Lower 48,
Quando Quango,
Lyres,
The Five Americans,
Scan 7,
Pharaoh Sanders and the Fire Engines,
Boogie Down Productions,
Fat Boys,
Cecil Taylor,
Deepchord,
Parry Music,
Severed Heads,
Eric B and Rakim,
Animal Collective,
PIL,
Spandau Ballet,
Louis and Bebe Barron,
Al Stewart,
In Retrospect,
Charles Mingus,
Nik Kershaw,
The Motions,
Kerri Chandler,
The Evens,
A Flock of Seagulls,
Tubeway Army,
Camouflage,
Freddie Wadling,
Dawn Penn,
Bang on a Can All-Stars,
Marvin Gaye,
Pete Rock & C.L. Smooth,
Half Japanese,
Wighnomy Brothers & Robag Wruhme,
Cybotron,
Erykah Badu,
Barry Ungar,
Harmonia,
Mission of Burma,
R.M.O.,
Lonnie Liston Smith,
Röyhkä ja Rättö ja Lehtisalo,
Joey Negro,
Nirvana,
Loose Ends,
Flamin' Groovies,
Gong,
the Swans,
Babytalk,
Wasted Youth, Wasted Youth, Wasted Youth, Wasted Youth.
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.