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 Senegal and from Paris.
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 Bologna and Beijing.
I'm losing my edge to the art-school Portland 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the rhodes 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 Masta Ace, Craig G, Kool G Rap, Big Daddy Kane to the disco 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 Bang on a Can All-Stars. All the underground hits.
All Wire tracks. I heard you have a vinyl of every Index 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 '50s cut and another box set from the '90s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Vogues record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Negative Approach,
Lalo Schifrin,
Rod Modell,
Neu!,
Nirvana,
Blossom Toes,
Aaron Thompson,
Symarip,
Mr. Review,
Wire,
The Monochrome Set,
Von Mondo,
Bad Manners,
Brick,
Ajijia Myrayebe,
Marshall Jefferson,
Visionaries,LMNO, T- Love & Iriscience,
The Invisible,
Cabaret Voltaire,
Patti Smith,
Television Personalities,
Animal Collective,
The Offenders,
Schoolly D,
Bang on a Can All-Stars,
It's A Beautiful Day,
Lindisfarne,
Audionom,
The Birthday Party,
Sällskapet,
Franke,
Sun Ra Arkestra,
Isaac Hayes,
Rekid,
the Fania All-Stars,
Intrusion,
Das Ding,
Theoretical Girls,
Mad Mike,
Rakim,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
JFA,
These Immortal Souls,
The Five Americans,
Lightning Bolt,
Godley & Creme,
Can,
the Germs,
Desert Stars,
The Victims,
Lonnie Liston Smith,
La Düsseldorf,
Pantytec,
Josef K,
Swans,
Aloha Tigers,
Rhythim Is Rhythim,
Harpers Bizarre,
Oppenheimer Analysis,
Infiniti,
Kerrie Biddell,
Ituana,
the Human League, the Human League, the Human League, the Human League.
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.