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 Brazil and from Mexico City.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Delhi and Halifax.
I'm losing my edge to the art-school Paris 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the 808 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 Mary Jane Girls to the funk kids.
I played it at the 40 Watt.
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 Boogie Down Productions. All the underground hits.
All Mo-Dettes tracks. I heard you have a vinyl of every Amazonics 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 '80s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Selecter,
New Order,
Bobby Byrd,
Donny Hathaway,
Royal Trux,
Quadrant,
Pantytec,
Joyce Sims,
Liliput,
The Moleskins,
Guru Guru,
Traffic Nightmare,
Fela Kuti,
The Cure,
Depeche Mode,
Slick Rick,
Ralphi Rosario,
Banda Bassotti,
10cc,
Sly & The Family Stone,
Andrew Ashong & Theo Parrish,
Quando Quango,
Interpol,
Swell Maps,
Moebius,
Bang on a Can All-Stars,
Neil Young & Crazy Horse,
The Index,
T. Rex,
Agent Orange,
Camouflage,
L. Decosne,
Barclay James Harvest,
The Monochrome Set,
Gichy Dan,
Amon Düül,
H. Thieme,
Ohio Players,
Neu!,
Sun Ra,
Main Source,
Au Pairs,
Half Japanese,
LL Cool J,
New York Dolls,
Robert Wyatt,
R.M.O.,
Ten City,
Gian Franco Pienzio,
DNA,
Roxy Music,
The Techniques,
Bill Wells,
Country Joe & The Fish,
Spandau Ballet,
The Durutti Column,
Andrew Hill,
Tom Boy,
Cabaret Voltaire,
Grauzone,
John Holt,
Louis and Bebe Barron,
Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx.
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.