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 Palau and from Sao Paulo.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Philadelphia.
I'm losing my edge to the art-school Lyon 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the oboe 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 Jacob Miller to the techno kids.
I played it at the Astoria.
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 The American Breed. All the underground hits.
All The Raincoats tracks. I heard you have a vinyl of every Peter and Kerry record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Sun City Girls record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fort Wilson Riot,
Lakeside,
The Residents,
Laurel Aitken,
Teenage Jesus and the Jerks,
Nils Olav,
Guru Guru,
Siglo XX,
Bronski Beat,
The Remains,
Chrome,
Toni Rubio,
The Techniques,
The Gladiators,
Rhythim Is Rhythim,
The Blues Magoos,
Ronnie Foster,
Slave,
Althea and Donna,
F. McDonald,
Mo-Dettes,
Outsiders,
David McCallum,
The Durutti Column,
Oppenheimer Analysis,
Warsaw,
Derrick Morgan,
Röyhkä ja Rättö ja Lehtisalo,
Wings,
Stetsasonic,
Davy DMX,
Gastr Del Sol,
Lalann,
Funky Four + One,
Surgeon,
Dorothy Ashby,
Deadbeat,
Trumans Water,
Notorious Big And Bone Thugs,
The Saints,
The Star Department,
Electric Light Orchestra,
The Invisible,
OOIOO,
Man Parrish,
Eve St. Jones,
LL Cool J,
Scrapy,
Altered Images,
These Immortal Souls,
Gang of Four,
Colin Newman,
KRS-One,
Au Pairs,
The Royal Family And The Poor,
Bob Dylan,
Can,
Nirvana,
Brick,
Darondo,
Los Fastidios,
Parry Music,
Eyeless In Gaza,
Fugazi, Fugazi, Fugazi, Fugazi.
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.