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 Liberia and from Portland.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1975.
I'm losing my edge.
To all the kids in Winnipeg and Columbus.
I'm losing my edge to the art-school Houston 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 1984 at the first Arcadia practice in a loft in London.
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 Mission of Burma to the rock 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 Prince Buster. All the underground hits.
All Malaria! tracks. I heard you have a vinyl of every Peter Gordon & Love of Life Orchestra 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 '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Womack,
Nick Cave & The Bad Seeds,
Thee Headcoats,
The Associates,
EPMD,
Neu!,
Excepter,
Deepchord,
Bang on a Can All-Stars,
Howard Jones,
Au Pairs,
The Tremeloes,
Ultra Naté,
Bobbi Humphrey,
Crooked Eye,
Joe Smooth,
Grandmaster Flash,
Wighnomy Brothers & Robag Wruhme,
Theoretical Girls,
Matthew Halsall,
Roy Ayers Ubiquity,
The Techniques,
Organ,
Oppenheimer Analysis,
Kango’s Stein Massive,
Red Lorry Yellow Lorry,
Peter Gordon & Love of Life Orchestra,
Hardrive,
E-Dancer,
Faraquet,
Dead Boys,
Traffic Nightmare,
John Coltrane,
Pulsallama,
Dr. Dre and Snoop Doggy Dog,
Michelle Simonal,
Ultravox,
Wire,
Lightning Bolt,
Maleditus Sound,
Terrestrial Tones,
Lyres,
Skriet,
Procol Harum,
Depeche Mode,
June of 44,
Gil Scott-Heron and Jamie xx,
Masters at Work,
The Saints,
Alphaville,
The Star Department,
The Fire Engines,
The Seeds,
Ornette Coleman,
Alton Ellis,
The Slackers,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Avey Tare,
The Alarm Clocks,
The Jesus and Mary Chain,
A Flock of Seagulls,
Marcia Griffiths, Marcia Griffiths, Marcia Griffiths, Marcia Griffiths.
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.