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 Johannesburg.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Manila and Woodstock.
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 1984 at the first Arcadia practice in a loft in London.
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 Roy Ayers Ubiquity to the punk 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 Traffic Nightmare. All the underground hits.
All The Sonics tracks. I heard you have a vinyl of every 10cc record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Joyce Sims record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Prunes,
Ajijia Myrayebe,
48th St. Collective,
Eli Mardock,
Connie Case,
Mandrill,
Susan Cadogan,
The Velvet Underground,
Suburban Knight,
Lucky Dragons,
Agent Orange,
Can,
The Fire Engines,
Idris Muhammad,
Brand Nubian,
Don Cherry,
Dead Boys,
The Pretty Things,
Be Bop Deluxe,
James White and The Blacks,
Ten City,
Notorious Big And Bone Thugs,
Basic Channel,
Echospace,
Metal Thangz,
Siglo XX,
DNA,
Bang On A Can,
Cybotron,
Kaleidoscope,
Section 25,
Excepter,
the Bar-Kays,
Lou Christie,
F. McDonald,
Marmalade,
Gian Franco Pienzio,
Throbbing Gristle,
London Community Gospel Choir,
Pantytec,
Colin Newman,
The Blues Magoos,
Gang Green,
Cecil Taylor,
Sun Ra,
Camron Feat. Jay Z And Juelz,
The Dave Clark Five,
Second Layer,
Popol Vuh,
Clear Light,
Scrapy,
Grandmaster Flash,
Newcleus,
Yazoo,
Joensuu 1685,
Make Up,
Peter & Gordon,
Slave,
Fluxion,
Khruangbin, Khruangbin, Khruangbin, Khruangbin.
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.