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 Fiji and from Shanghai.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Madrid.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Grandmaster Flash to the rap 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 Parry Music. All the underground hits.
All Eric Dolphy tracks. I heard you have a vinyl of every Avey Tare record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Dead Boys record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Janne Schatter,
Brass Construction,
The Men They Couldn't Hang,
Echospace,
Interpol,
Jacob Miller,
Sister Nancy,
The Zeros,
CMW,
The American Breed,
Moss Icon,
Bang on a Can All-Stars,
Slick Rick,
Sixth Finger,
Crime,
Nas,
Popol Vuh,
Black Moon,
Jerry Gold Smith,
The Black Dice,
Soul II Soul,
Au Pairs,
Pierre Henry,
Lindisfarne,
Deadbeat,
Max Romeo,
The Last Poets,
Mary Jane Girls,
Quando Quango,
Ponytail,
Judy Mowatt,
Marmalade,
Suicide,
Mission of Burma,
Peter and Kerry,
Outsiders,
Todd Terry,
Anakelly,
The Misunderstood,
The Cure,
Notorious BIG live in Amsterdam,
Ken Boothe,
Grey Daturas,
Lakeside,
Gang Gang Dance,
Bush Tetras,
Electric Prunes,
Rekid,
Franke,
Buzzcocks,
Grauzone,
Bob Dylan,
Masters at Work,
Peter Gordon & Love of Life Orchestra,
ABC,
Roy Ayers Ubiquity,
Sight & Sound,
Gabor Szabo,
Matthew Halsall,
Depeche Mode,
Sex Pistols,
Icehouse, Icehouse, Icehouse, Icehouse.
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.